Detty December is here and outside is active with a music concert or carnival or beach party or an exhibition popping here and there. As a real outsider who doesn’t carry last, I already drew up a list of everywhere I’ll do Ìtalawà this period: one of them is Pop Central’s “70 Years of Music In Nigeria” 7-day exhibition.
Not everyday loud music and amapiano dance, I wanted to feed my eyes with music art display and learn while at it too. My experience throughout the event turned out educative, fun and immersive than I imagined it’d be. My observations about this programme opened itself up into the things that it’s knowingly or unknowingly doing. Here they are:
History and culture custody
If the Nigerian music industry had a protest against its ecosystem, the most popular cry, which is valid, on placards would be “We have no structure.” If there’s a solid structure, it starts with recognising our history, taking from the past the gems and lessons that we need for the future, and providing platforms for brilliant professionals to share knowledge and execute along with others to build.
It exhibited relics of King Sunny Ade and painted artworks of numerous Nigerian musicians from the dead to the present. It also exhibited old copies of Nigerian pop culture and entertainment magazines like Hip-Hop World Magazine. There were even cassette tapes of artists like Junior N Pretty and Chrtisy Essien-Igbokwe and vinyls of Fela Kuti, Victor Olaiya, and many more.
Image credit: @aot2 (on Instagram)
Learning and interactive space
Pop Central is currently one platform that does all of the above. Its “70 Years of Music In Nigeria” programme has hosted town hall sessions with experienced and professional media and music industry players like Sam Onyemelukwe, Joey Akan, Jide Taiwo, Ayomide Tayo, Favour Agbai, etc., to discuss issues like the importance of music to young people, gender gaps in leadership in the music industry, paying tribute to Nigerian young music legends, etc.
This event’s also a bridge for older and younger generations of artists and creatives, music entrepreneurs and enthusiasts, media personalities, etc. to connect, have conversations, share perspectives and make meaningful relationships that progress the industry.
Image credit: @thisispopcentral (on Instagram)
Platform for young creatives
The event wasn’t limited to music-inclined people and its business(wo)men. It served as a showcase for young Nigerian painters, designers, and creative directors. The artworks exhibited in the Pop Haus were made by artists like Toyo Jo, Precious Egbugara, Ifeoluwa George, Dami Diamond, and many more.
Image credit: Pop Central
Therapy for artists
The town hall sessions make space for difficult questions and honest conversations between the speakers and the audience. An example was Joey Akan’s session about the importance of social media in music on December 19th. He interacted with everyone in the room, particularly an artist who started putting out music professionally in 2023. They talked about his consistency, positioning, promo and marketing. The artist’s apparent dedication to building his fan community impressed Joey Akan, who promised to listen to and share his music with some important people if it’s excellent.
What will Detty December look like in this great T-Pain year? On Thursday, December 6, 2024, the 5th edition of the concert Fuji: A Opera, themed “Fuji Vibrations 2024” offered an answer.
Since its launch in 2020, the free Fuji music festival has remained dedicated to celebrating and bringing Fuji musicians closer to aficionados of the genre, music lovers, and fun seekers across generations, genders, and geography. What started as a one-off past-time shindig during the pandemic has metamorphosed into a running show that’s now in its fifth edition.
This year, Fuji: A Opera’s ambitions expanded. Together with the Fuji Music Association of Nigeria (FUMAN), it flourished with sponsorship from brands like Imperial Black, Goldberg and UAC Foods Nigeria, partnerships with White Space Lagos, Schweppes Nigeria, the burgeoning women-wear champ Meji Meji, and UB Fabrics—which also clothed the VIPs in a sky-blue print covered with “FUJI.” The “and co” attire, adorned by only the most avid Fuji fans and the one percenters able to buy that card, was giving “family and friends of Fuji Opera.” Barbecue sellers set up shop, grilling meat by an open bar at the back. Cups of beer went ‘round, as did plates of Ofada, peppersoup (in the VIP section, though they ignored the media partners). Puffs from all kinds of smoke— cigars, cigarettes, Canadian loud enveloped the arena.
Fuji: A Opera served a seasoned line-up of artists. DJ Kulet took over the stage a dozen times with her mix of Fuji sounds. Iyalode Music warmed up the crowd with her “alujo” dance music, before Alhaji Sikiru Lemon boosted the energy with his high-morale Fuji. Fatimo Ajoke Cinderella, who went viral for her song Allahu Motide, was the performer who didn’t miss a beat. She suddenly burst on stage introducing herself and then playing on the event name with “Opera Mini” before moving into a vigorous dance, reviving deeply anti-women ideas that also showed up in the welcome address by SK Sensation, the president of FUMAN.
Rather than critique the systems that inhabit the women who have been for years victims of the sex trade, Ajoke Cinarella seized the opportunity to promote an old tired trope about the activities of women in sex work. “Pátá ashéwó ò kín n’ísin mi / Bó sé n bo, ló n wò, ló n bo, ló n wò,” she sang.
SK Sensation started his speech by saying, in Yorùbá, “Ekáálé o (meaning ’Good evening’) to the baba (fathers), the alejo (guests), the ololufe (fans).” He ignored all the women at an event whose anchor is women — women performing on stage, women serving drinks, women in the audience; seated, standing, dancing.
Singer Atawewe towed the same line, recognising only the men in the house even as he bragged that his detractors would never defeat him unless they weren’t “born out of a woman.”
Remi Aluko’s quirky, street-smart renditions of Afrobeats and gospel hits combined with aggressive, freestyle dance moves scored a warm moment with the audience. He did his Fuji version of Rema’s “OZEBA” and addressed the ongoing discord in the Fuji music world. He urged the elders to behave elderly and the youngins to show respect.
The music jerked fast, but Lokoso Ajani, SK Sensation, and Aare Shina “Scorpido” Akanni, who Malaika and some other younger Fuji artists went to pay their respect to on stage, brought mid-tempo and veteran grooves that kept the agile and older folks in regulated moves. But that wasn’t for long. 59-year-old Abass Oberese, adorned in a grey-and-black coloured durag, vintage shirt, black jeans and white sneakers, stepped into the luminaire. He performed his hits “Asakasa” and “Mr. Teacher,” while the female dancers threw their behinds to the drum beats and Obesere’s hand directions—a nostalgic moment for those who grew up listening to his music in the early 2000s. Like the patron of Fuji music that he is, Wasiu Ayinde, AKA K1 De Ultimate, performed popular hits like “Ade Ori Okin” to close out the event.
But the acts that grabbed the crowd most were Malaika and Saheed Osupa, two beloved Fuji veterans who took the stage at the tail end of a lineup, an ensemble that included other musicians across the Fuji scene. Though it was almost midnight and a new day was knocking at Muri Okunola Park in Victoria Island when Malaika opened his set, his eclectic performance—which turned into a celebratory sing-along in front of hundreds of fans—kept fans awake, agile, and gyrating. He made the crowd throw their white handkerchiefs in the air with his “Aro Eyo” chant performance, a nod to Lagos’ Eyo cultural heritage.
Saheed Osupa, on the other hand, started his set in the early hours of Friday and inflamed the stage with a rendition of his song, “Itanna Ogo”, off his “Fuji Icon” album. Then, he segued into an unreleased song in reverence to his home city, Ibadan, and to Dr. Sikiru Ayinde Barrister, the originator of Fuji music. Osupa reckoned that Barrister may be gone, but Fuji music is alive and thriving. In the same breath, Osupa emphasised Fuji as his first choice of music and honoured and deified Barrister. “Ósì wà l’existence, to bá ti n’ígbàgbó / Á gbé e wò lójijì tobá gbà fún Barry / Torípé ìmìsí Àyìndé Ògún òòkú o, musically lótún mín,” he sang, as he strutted the platform in a confident pace. Every second of a pause gave the audience the chance to rave in excitement and cheers.
From start to finish, Fuji: A Opera prioritised the celebration of Fuji music, culture and artists, keeping alive the collective spirit it was designed to preserve. “We are doing this to get Fuji to make more statements in the world of music,” K1 De Ultimate said while presenting an award to the FUMAN president at the event. The vibe in the crowd was communal—old friends were reunited, and new friendships were made.
At the forefront of Afrobeats’ global takeover are the “Big 3” — Wizkid, Davido, and Burna Boy. With their unique styles and undeniable talent, they’ve not only put Afrobeats on the map but have also inspired a whole new generation of artists.
In this edition of #BumpThis, we’re highlighting career-defining songs from each of the Big 3. From Wizkid’s soulful melodies to Davido’s energetic bops and Burna Boy’s socially conscious anthems, we’re diving into the songs that have reverberated their names time and time again.
Holla At Your Boy — Wizkid
When Wizkid dropped this song in 2010, he was the coolest kid Nigerian teenagers of that era had seen. “Holla At Your Boy” was everywhere, vibrating: “When you see me come around, I gat you looking at me.” High-school love wanted to wound Wiz, just as the young listeners of that era. Well, they aren’t kids again but we’ll always remember this hit.
Dami Duro — Davido
The O.B.O (Omo Baba Olowo, meaning “wealthy man’s son”) the nickname everyone, far and wide, calls Davido now came from “Dami Duro”. That was the track that introduced him to the mainstream and launched him to stardom. His ask to the gatekeepers was simple: “E ma Dami duro, emi omo baba olowo—”Don’t stop me, I’m a wealthy man’s son.”
Like to Party — Burna Boy
At a time when mainstream music’s tempo was hyper-fast and the fashion of the musician stars was mostly checked shirts, branded tees, jeans, and large sunglasses, Burna Boy arrived in Versace shades and shirts, unbuttoned and chest bare. He was ready to party and take the music slow. It is always a certified party starter at anytime.
Ojuelegba — Wizkid
Ojuelegba is a bustling place in Lagos Mainland. It’s where Wizkid grew up, honed his musical talent and recorded his first songs. It’s only right that he sings about it and his experiences there. This song is also one of the earliest Afrobeats crossovers. Its remix features Skepta and Drake.
If — Davido
There are not many Afrobeats songs that’re certified diamond by the US’s Recording Industry Association of America. Davido’s “If” is one. “If I tell you say I love you o / My money, my body na your own o, baby / 30 billion for the account o” is hall-of-fame worthy. Davido courts and assures his babe of his loyalty to her, with some cash to support. Love is sweeter when money enters.
Ye — Burna Boy
One of the biggest songs on Burna Boy’s Outside album (2016) is “Ye.” The song was popping around when Kanye West changed his name to Ye and released an album. The searches for America’s Ye album resulted in the Burna Boy song, and most ended up playing it. Confused Americans kept tweeting they found the wrong Ye, but they loved what they heard. It was up from there.
A jam about Nigerian daily struggles and aspirations that also makes parties fun.
Essence — Wizkid feat. Tems
Wizkid collaborated with Tems to create a song. The result is “Essence,” a Grammy-nominated song. No lead single for the Made in Lagos album would have been better. It’s a love song. Both singers hold the position of a lover, singing of commitment and possibly a lifelong affair. Thanks to the success of this song and her preparation to meet opportunities, Tems has gone on to be a global star and is now a solo Grammy-nominated artist.
UNAVAILABLE — Davido feat. Musa Keys
You can take this song and play it as a response to almost any situation you don’t want to be in or any person you don’t want in your presence. It features a South African singer and producer. When you do this song, don’t forget to do the dance—you have to go all the way.
Last Last — Burna Boy
Burna Boy sang his heart out in “Last Last” which he released after his breakup with Stefflon Don. When the pain wouldn’t go away quickly, igbeaux and shayo numbed it. Aside from the sweet melody, another beauty of this song is its acceptance worldwide—one of 2023’s biggest songs.
B. D’OR — Burna featuring Wizkid
Wiz and Burna linked up to throw a party on “B. D’OR” (meaning “Balloon D’or”), the biggest award given to the best international footballer of the year. It’s their interpretation of being the best acts of the year. The only issue here is: only one person goes home with the Balloon D’or. You can give the award to whoever you like at the end of the playlist.
PS: Can they put their BS aside and do something together? We can only live in hope.
Anyway, the playlist is here:
After over 13 years since Wizkid’s Superstar debut, Starboy has given us countless hits, collaborations and moments that won’t fade away in a long time. To stretch his music catalogue, he’s announced Morayo, his sixth studio album slated to be released on November 22, 2024.
While we wait for Morayo, we dive into Wizkid’s acclaimed music projects, ranking his works from the best to the least enjoyable. From Superstar to S2, we revisited the albums and EPs that have cemented Wiz’s status as one of Afrobeats’ legends.
6.
More Love, Less Ego (2022)
In November 2022, just a year after the debut of the deluxe Made in Lagos, Wiz released More Love, Less Ego —a mesh of pop, Afrobeats and R&B. This album feels like a drawn-out session of Made in Lagos, repeating similar sonic templates, flows and melodies. Quit honestly it is the last in this ranking because of was not daring, was boring. It didn’t try to go outside the comfort zone of previous successful albums from Wizkid.
5.
S2 (2023)
Although this dropped around the demise of his mum, Wizkid understood that variety is the spice of life on S2, a follow-up to his Starboy label’s Soundman Volume 1 project. In four tracks, Wizkid served diverse music styles that switched up his tempo from the laid-back Made in Lagos and More Love, Less Ego. S2 is very experimental and fun. As we said in our review of the project, it’s a prelude to Morayo.
4.
Ayo (2014)
This is Wizkid’s second album and can be called his album with the most hits, being home to Jaiye Jaiye, In My Bed, Show You the Money, On Top Your Matter. Though few songs in Ayo are as introspective as “Ojuelegba” and “Joy,” its general fast-tempo direction attracts party animals and young people looking for fun. We may never get this party version of Wizkid again, but the hits from Ayo will continue to turn up functions even decades from now.
3.
Sound from the Other Side (2017)
There have been arguments that this album didn’t strive or gain notoriety due to its mixtape tag, R&B sonic direction, and serious lyricism (a deviation from the usually playful Afrobeats lyrics). But these qualities are what distinguish Wizkid’s third album and first major label debut among his other offerings. “SFTOS” is soft, expressive, and bold.
2.
Made in Lagos (2020)
The fusion of R&B and Afropop shines bright on “Made In Lagos”, Wizkid’s special nod to his city of childhood.
Years before Wizkid released the critically acclaimed “Made In Lagos” album in 2020, his fans begged and asked him several times for a new album. Just nine days after its release, it crossed over 100 million streams across five streaming platforms, received praise from listeners and both local and foreign media, and became the best-selling African album of all time in the US.
1.
Superstar (2011)
Superstar is Wizkid’s first album, released under Empire Mates Entertainment (EME) in 2011. A year after his hit single Holla At Your Boy, his debut album came out to ground his feet as Nigeria’s contemporary music new pop star. Not only because he was the hottest kid on the block, had a sort of cool demeanour, or the star-studded features, he was at his most adventurous phase. The album explores different genres like Hip-Hop, R&B, Reggae and Fuji, and themes like romance, love, ghetto upbringing and his grass-to-grace story. A decade has passed since the release, but at least six songs on it still raise the roof anytime they’re played.
Many young music listeners might have heard popular Apala jams like Opon Apala Ti Sun and Ise Oluwa Ko Seni Toye, which Fireboy DML interpolated in the intro of his latest recent album, adedamola. But the culture and history of Apala music go beyond these popular jams.
In Nigerian music, Apala stands tall as a genre that proudly wears its Yoruba heritage on its sleeve. The music style is born from the rhythmic beats of traditional Yoruba sounds, a unique blend of percussion, melodic chants, and soul-stirring harmonies that have captivated audiences for generations.
But what makes a great Apala album?
From the body of work of Haruna Ishola to Ayinla Omowura, over the years we’ve created great Apala albums that have continued to be mainstays at parties. See below our greatest Apala albums of all time:
Oroki Social Club — Haruna Ishola
By the time Haruna Ishola released Oroki Social Club, his arguably biggest-selling album to date, with his Apala Group band in 1971, he was a big shot in the local music world. He reportedly sold five million copies under Decca Records, a British music company. His music applies deep Yoruba, Quranic citations, and adulation to high-profile people. In his music, which has been the dominant Apala sound for decades, the percussion is present but minimal, and the music is backed up by sonorous male vocalists.
The album title gives a specific nod to a popular social club in Osogbo, where Haruna and his band frequently performed.
One of the most memorable lines from the album’s titular track is “Students, come and dance / Our music, Apala is easy fenikeni (meaning “for anybody”).” The album’s huge success popularised the club and its founding members. Haruna Ishola is regarded as the father of Apala music today.
Ina Ran —Haruna Ishola
This Ina Ran (meaning “Fire has spread”) album came out under his Star Records Company Limited in 1974. It has six tracks that run for thirty minutes, singing about God’s might, the underworld powers, his musical superiority, soaring success, and his must-haves: peace, well-behaved children, and money.
Odun Orin Jo — Alade Ligali Mukaiba
Although Ligali sang majorly in proverbials and gave praises to high-profile individuals like his peers, this Odun Orin Jo album states clearly that he has stepped up and no one can get on to his level. This point becomes even clearer on Kos’Olode Tole ‘ibon P’Eja Lomi (meaning, “There’s no hunter that can kill a fish in a river with a gun”). Unlike his contemporaries, Ligali’s music is solemn and devoid of abuse, but his superpower was how he wielded language deeply. His music is filled with bars-on-bars that need deciphering.
Ebi Ki Pagun D’ale — Ayinla Omowura
“Ebi ki pagun d’ale” means “a vulture never hungers till night.” This album is Ayinla’s Volume 18 project, one of the five albums that he allegedly recorded in less than eight months (October 1979 to May 1980). In the album he begs the Gods for wealth, riches, popularity and universal blessings. To date, Ayinla remains one of the genre’s biggest players. A biopic of his life was released in 2021.
E Lewure Wole — Fatai Olowonyo
One of Fatai Olowonyo’s hit albums is E Lewure Wole (Vol. 9) (meaning “chase the goat back into the house”). It became very big due to the titular diss track directed at his contemporary and rival Ayinla Omowura. Fatai took a shot at Ayinla’s facial features. This album became Fatai’s most popular work. In the Apala world today, E Lewure Wole is a cult classic that reverberates Fatai Olowonyo’s name as an Apala music OG.
Eni Fibi Su Olore — Kasumu Adio
Kasumu Adio hailed from Ijebu-Igbo, the unofficial mecca of Apala music. He wasn’t as big an Apala musician as his contemporary and rival, Haruna Ishola, but he held his own in his time. He may sound similar to Haruna Ishola, but when they were both in the heat of their beef, they challenged each other, sparring with deep usage of Yoruba.
One of his outstanding albums is Eni Fibi Su Olore, a statement directed at ingrates or people who make their benefactors regret offering help. If you’re looking for Kasumu’s impact on Apala music, it’s in his lyricism.
Soyoyo — Musiliu Haruna Ishola
Almost three decades after Haruna Ishola mentioned “Soyoyo” in his Ina Ran record, his son, Musiliu Haruna Ishola, released the Soyoyo album in 2000. This album refreshed Apala music in a younger and more contemporary climate. It produced hits like Ise Oluwa Ko Seni Toye and Opon Apala Ti Sun. Although Musiliu Haruna Ishola is not as deep and lyrical as his dad, he knows how to craft catchy rhythms and slogans that tempt both young and old people.
In this week’s #BumpThis, we’re spotlighting Fuji music, the genre that’s been calming Nigerian nerves for decades. From the veterans to the new-school masters, we’ve curated a list of the most recent and addictive Fuji tracks to ease you into the weekend.
Groove to the recent hits from Fuji royalty like Adewale Ayuba and Saheed Osupa, alongside rising stars like Saheed Ishola Arogunmasa. Our selection is packed with infectious beats, heartfelt lyrics, and the signature Fuji flair that’ll transport you to a world of unlimited faaji.
Koloba Koloba — Adewale Ayuba
Shout-out to TikTok, Ayuba’s Koloba Koloba return to the mainstream, playing in Reels and blasting as the shenanigans at owambes go on. The message of the song convinces a babe’s parents that musicians aren’t promiscuous. He just wants to be a sweet, loving musician.
Oyin Tide, Sugar Tide — Wasiu Pasuma Alabi
This song title means “Honey has come, sugar has come” — Pasuma’s saying his music is the sweetest. Are you looking for a danceable track with self-praise, popular slang and street-wise advice you didn’t ask for? When you get to the name-drop parts, just pretend Paso is hailing you. Press play and this joint will make you feel pompous for the next 32 minutes.
Phenomenon — Saheed Osupa
Saheed Osupa is deep in tradition with this song. He sings of the profoundness of Fuji music, and its penetration into TikTok. He calls himself the king of music like Wu-Tang, and states his desire to continue to push Fuji to the point it earns a Grammy award. He hails the genre’s progenitors and moves to the talking drum and other elements of Fuji to state their importance. You just know that he lives and breathes Fuji music.
Gbagbe — Remi Aluko
This is straight to the dance floor. Remi Aluko has all the latest street and internet slang woven into his chorus. If you like bringing friends together to party, you can all rock to this.
First Impression — Muri Thunder
Muri Thunder argues that making a great first impression is essential in starting a relationship. He sings about a love interest giving him sleepless nights, and his commendable bedroom game.
Eyin Ewe Iwoyi — Wasiu KWAM1 Ayinde
Eyin Ewe Iwoyi means “You kids of nowadays”. It starts with serenading instrumentals; chilled, organised and perfect for an evening of fun and relaxation. KWAM1 sings to the youth about hard work and the importance of time and blends it with smooth-spoken word poetry.
Currency Leleyi — Taye Currency
This is what braggadocious Fuji music sounds like: exaltation and reverence of self combined with dexterity. Taye Currency warns enemies to back off.
My Warning (Ikilo) — Tiri Leather
Tiri Leather’s warning is an admonishment to listeners not to live a fake life. He adds that everything doesn’t look as good as they appear.
Orin Tawa Kun Funmo — KSI Malaika
“Music that’s full of wisdom” is what this song title translates to in English. Fuji singer Malaika distances himself from shallow perspectives, stating that his songs leave listeners with lessons to take away.
Onishola Motunde — Saheed Ishola Arogunmasa
On Saheed Ishola’s Globalist album, he announces his presence and brags about his skills. He prays to continue to be on top of his game. Although Saheed Ishola is an artist signed to Pasuma’s Wasbar Records, his approach interestingly sounds like an offshoot of Saheed Osupa.
Listen here:
Away from the bubbly Afrobeats scene, the Fuji music world has been buzzing with fights and debates. For over a month, die-hard fans of Fuji music have gathered under canopies, lined up streets and made merry in various hotels in Ibadan to witness Fuji OGs Taiye Currency and Tiri Leather throw jabs at each other with their live band. The situation escalated into a ‘Verzuz’ of Fuji artists: Saheed Osupa vs. Pasuma; Saheed vs. K1 on X (FKA Twitter).
The back-and-forth about the most impactful, lyrical and best-selling Fuji act soon became my cue to highlight the greatest albums the genre has produced over the years.
From the iconic harmonies to the infectious beats, these Fuji albums (in no particular order) have revolutionised the genre, soundtracked lives, shaped culture, and made bodies shake.
Aiye! — Sikiru Ayinde Barrister
Barrister’s music is the type to dance to and also pick up lessons from. On his album Aiye! (1980), he sings about the Disneyworld in Orlando which received an increase in African tourists. That song earned him the “Keys to the State of Florida.”
Beyond an American experience, this album’s message gets deeper. It’s laced with proverbs, metaphors and witty sayings about life, trust and human behaviours. On the Side B, Apala Fuji System Medley he addresses and refutes the allegations against him as a conspirator in the death of Apala singer, Ayinla Omowura, and commiserate with his family and loved ones. For context, Barrister had a fallout with Ayinla in his lifetime and Kollington (who Barrister also had an issue with) was always closer to Ayinla.
In the album, Barrister laid curses on whoever had a hand in Ayinla’s death. That was his way of saying his hand was as clean as a white glove. He had to do it — Ayinla had a large following that could take Barry’s silence for complicity and cause him physical harm. It’s no wonder the album’s title translates to “Life” and came out the same year (1980) Ayinla tragically passed away. This album is the Bible for Fuji artists.
Fuji Garbage — Sikiru Ayinde Barrister
On this 1988 album, innovation is at its peak. In its opening, one could have easily mistaken it for a Fela Kuti song intro because of its chiming chords and jazzy feel. But Barry fuses other sounds with Fuji to leave strong impressions that he’s in-tune with the times, versatile, capable and on a plane higher than his peers. Fuji Garbage was so successful that he did several versions of it, and that marked a tonal shift in his music at the time. With the arrival of Fuji Garbage, Juju music was pushed to the backseat.
You may be wondering, why Fuji Garbage? This means that as the biggest in the Fuji world, he’s not immune to insults and ridicule that come with success. But there was also a necessary need to distinguish himself.
Ijo Yoyo — Kollington Ayinde
Fuji music with up-tempo, fun dance moves, and quests for ladies are the unmistakable descriptors of Kollington Ayinde’s Ijo Yoyo (1989). Ijo Yoyo registered a new dance and an untamed party ambience in Fuji for Gen X in South-West Nigeria. Kollington’s Ijo Yoyo was the culmination of his late 80s-early 90s run when he held his own, not only against Barrister, but also King Sunny Ade and Sir Shina Peters.
His public service message for the census also won him some accolades from the Ibrahim Babangida government. Iyo Yoyo is Kollington’s magnum opus. It solidified his claim as “Professor Master”. Also, the impact of this album can be traced to younger Fuji acts like Obesere whose “Asakasa” style is a legacy of Kollington.
Mr Johnson Play For Me — Adewale Ayuba
The Mr Johnson Play For Me album (1992) meshes folk, country and African rhythms with the themes of Fuji pride and a good time. Here comes the suit-wearing, corporate-swagged Fuji vocalist and class-act who calls his brand of music “Bonsue”. Mr Johnson Play For Me was Ayuba’s coming-of-age album, after being seen more like an “outsider”. He was young and educated. His two preceding albums were well received and he toured America, only for it to be reported that he was arrested for drugs. Not true.
Ayuba warns people to stop calling him “The rave of the moment,” in this album. He states that Michael Jackson sang since he was a youngin till the moment he began his Fuji music, yet no one restricted MJ to a particular moment or era. Ayuba states that he is “current forever.” If you care to know how that argument has stacked up over the years, Ayuba still has the older and younger generations in his listening and streams dashboard.
Reality — Sikiru Ayinde Barrister
Reality (2004) starts on a light braggadocious note. Sikiri Ayinde sings, “If you wanna see Barry Wonder, you go see wonder.” Then he dives into the narratives of jealousy, envy and enemies that act like friends. He sings about ordinated destiny, que sera sera, his bus conductor days at Obalende and other struggles. Barrister croons about his breakthrough, ridicules the wicked eyes and flexes his will to enjoy his life to the fullest and without a bother.
This album didn’t leave out entitled people — the kind who only take, take and benefit from others, and think it’s their right. Barrister makes it clear that people who only stay in times of prosperity and leave during adversity usually end up painting their benefactors badly. This is another Barrister classic album, serving listeners life lessons and mastery of language. It was the penultimate album before he died, and it was somewhat foreboding.
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The Ultimate — Wasiu Ayinde Marshal
The Ultimate (1993), is the self-acclaimed title and compliment that staples the status of Wasiu Ayinde, AKA K1 De Ultimate or KWAM1, as a king of Fuji music. It’s an apt body of work because K1 was crowned the King of Fuji (Oluaye of Fuji Music) after the album dropped, the same year at NTA Ibadan. The music is fast-paced, jiggy to wiggle to and easy to sing along.
K1 had been known as Barrister’s protege in the preceding ten years, even long after he had left the man. On The Ultimate, he lightly embraced the “yuppie” approach to the music, and had dropped the “Barrister” style he used for a few earlier albums.
Consolidation — Wasiu Ayinde Marshal
In 1995, K1 threw secular music listeners into a frenzy with the love song, Show Colour Medley (the Side A) off his Consolidation album. “Show colour” means to show one’s true nature. The Side B of the album is Power to the People Medley. In its first few minutes, he mildly talks to the powers that be, then he adjusts his Fuji crown and assumes authority. Consolidation was the first time he would announce himself as “King”, much to the annoyance of all concerns. The album caused beef with his peers and his seniors alike. He doubled down on Legacy, the next album, as if to say he’d done it all and was paving the way for others after him.
K1 also fondly reminisces about the day he was crowned King of Fuji (Oluaye Fuji Music) in 1993. He spends the rest of this album eulogising the deceased and hailing his seniors and folks in high places. Not only have the phrases, slangs, and one-liners that K1 placed in this album impacted younger generations, but they show that the coolness and spontaneity of the older generation are necessary ingredients for a catchy recipe.
Orobokibo — Pasuma
Thirty years ago, Pasuma called himself the Crown Prince of Fuji on his life-changing Orobokibo album. It was so huge that it carved a new niché that went mainstream and became a blueprint for contemporary Fuji artists. As a Mushin-bred guy with street orientation and credibility, he had street slangs and phrases in abundance, and he adorned them in the music. The Orobokibo era is when Hip-Hop began to be globally impactful, from music to fashion and lifestyle. It’s not hard to tell why most of Pasuma’s style and branding leaned heavily on Hip-Hop culture. One look at his fashion, and one could tell that he wasn’t going to be traditional. He was influenced by Hip-Hop, and that choice continues to date.
The success of Orobokibo attracted Afro-Hip-Hop guys like The Remedies to Pasuma who he ended up making Jealousy with. This further solidified Pasuma’s relevance in Nigerian pop culture. Due to Pasuma, the word “Orobo” which he credits to one of his backup singers became an evergreen term in the Nigerian vocabulary. In the Orobokibo year, Pasuma won Best Fuji Artiste at the 1995 edition of Fame Music Awards (FMA).
Overthrow — Obesere
Obesere, AKA Omorapala, has been termed controversial all his career. He provoked reactions with his lyrics and dancers. He aimed for the crown too, and on Overthrow, he makes the claim that he has taken over. One of the most successful albums in his career.
Mr Music — Saheed Osupa
At the peak of his career, Saheed Osupa released Mr Music in 2008 — a title born out of his perceived victory in the feud with fellow musicians like Pasuma and Wasiu Ayinde Marshall. This album became the first-ever 4-in-1 music project — packed with wisdom from his ancestors, parables, shots and punchlines aimed at his detractors. Mr Music marks his ascension to his self-acclaimed King of Music title. If you look around the Fuji world today for a musician with outstanding lyrical ability and smooth use of figurative expressions, Saheed Osupa should be number one.
Heads up! For this week’s edition of our running series #BumpThis, we are taking things to the nether region.
Many times when we talk about sex, people are always thinking about some classic music from decades ago. But just this year, many Nigerian musicians have released songs that fit into this canon. This is why this week, our playlist focuses on songs that celebrate the art of giving and receiving head.
See the songs on our playlist for real eaters below:
Bad Decisions and Foreplay — Magixx
All the intentions of this song are in its title. When you’re salivating for some meat, this is the right song. It sounds better when you’re down to activate natural water parks or stick someone’s son to the back of your throat.
Consent — Major AJ
“When I blow your trumpet, all your worries you go forget”, Major AJ sings. But he’s not singing about proverbial praises or the musical instrument here. It’s about licking the plate.
need me — Fireboy DML
need me is a thirsty song on Fireboy DML’s new album, “adedamola”. Bro just wants a babe to call him whenever she’s horny, and he’ll be there unfailingly.
wap — Minz feat. Davido
For the uninitiated, “Wap” is an urban acronym for “Wet Ass Pussy”. To OBO, WAP is an ocean he wants to dive into. Anyway, I hope he’s a good swimmer.
Taste (Penu La) — Niniola
This song should play whenever you see your eater around. You’re subtly telling them that they’re sweet and they make you lick your lips in an ungodly manner.
Bombay — BOJ
The thoughts of a jiggling big booty are already driving this singer crazy. Whether pre-show or post-show, BOJ wants to be in it. A bit greedy, but his hunger is understandable.
Juicebox — SGawD feat. Moliy
This is an anthem and call-to-action for the baddies and all lovers of creamers and squirters — it’s calling you all to get your throats moisturised.
Temptress — Odeal
Is there someone that’s driving you crazy or maybe too bad for you? Wild thoughts of raunchy activities from the bathroom to the dresser? Temptress is for you.
Rock Steady — Tay Iwar and Le Mav
Is your steady situationship heating into a steamy emotional entanglement? You have a special number. Here’s an encouragement to go get your nuts out.
White Flag — Rebelwav
Are you in love, committed and with the freaky shit? If you’re sure, go ahead.
Dive into the playlist:
Aside from artistes displaying the lavish spoils of being rich and famous — exotic cars, parties, sporting clothes too thick for the hot Lagos sun — sex and sexuality are major themes that have dominated contemporary Nigerian music.
Male musicians have mastered the art, singing about all kinds of sexual activities that defy human abilities. “Fuck me till your body speaks to me again / I go respond when you don feel am for you belle oh / Underwear dey leak / She dey wet my bedsheet,” Victony cautions his lover in his hit, Risk.
On social media, there have been multiple campaigns for women to tap into their sexuality, express that they have desires, unabashedly and unafraid, sexually liberated in a modern world.
If you listen to any of the music by the female acts topping the charts, this has barely been the case. A few female musicians have tapped into sexual liberation, most notably Niniola, but only in the periphery. This was not always the case.
The reign of Omotoyosi Janet “Saint Janet” Ajilore in the 2010s is a classic “you had to be there” period in Southwest Nigeria. Those who had liberal parents or were exposed to secular underground music by their environment are likely to be familiar with the name. She’s a sonorous musician whose patron saint moniker would give a normie the expectation of a sanctimonious gospel artist. But her music would leave a chorister fervently singing more about the end times because of the sexual escapades she preaches in them. Some may argue that her music style models after Rosaline “Yaboskan” Iyabode, a UK-based female artist who reportedly debuted in 1980. Apart from writeups about Yaboskan’s remastered old albums, there are few of her songs online.
Yaboskan’s “Satisfaction (Itelorin)” album, released in 2009, a year before St. Janet’s debut album.
It’s no secret that conversations around sexuality in Nigeria are inconsistent, scarce, and largely close-minded. These conversations mostly exist within the “respected and accepted” context of marriage and gender. Anything out of the orthodoxy quickly gets the public’s side-eye, with participators branded immoral, perverse, and promiscuous. But unconfined by society’s moral standard, Saint Janet’s music casually invites listeners to talk about sex.
St. Janet needs no introduction to the members of St. Bottles Cathedral, an assembly of her music lovers who are characteristically liquor guzzlers anticipating their next gbana session. She sings mainly in Yorùbá, borrowing influences from Juju, Fuji, Highlife and Tungba, including church hymns and gospel songs. But there’s a twist in her music: she flips the Christian songs into obscene, jaw-dropping sexual narratives of lustful desires. Interestingly, at the beginning of every song and performance, she leads with slow-tempo praise-and-worship, acknowledging that a higher power gave her her talent and then welcomes her audience. Then, an introduction of herself, St. Janet, AKA the General Overseer of Sinners’ Chapel, before she bursts into her high-tempo erotic tunes.
On a keener observation, it’s easy to tie her gospel influence and the “saint” in her name to her religious background as a chorister in the Cherubim and Seraphim Church. But the name came from Los Kenge, her former boss and Juju musician, who observed she had a calm demeanour and always kept quiet, except when she got on the mic. After St. Janet ventured into her solo Juju career, she infused vulgarity to blow up and secure bigger bags. If an attribute of early Juju music was to use sexual innuendos to troll modesty, and a selling point of Fuji is to sketch euphemisms to court carnal desires, Saint Janet aims to distribute it everywhere, all up in faces like the posters of politicians. Call it flagrant, indecent, or blasphemous—you may not be wrong. But you’d also be correct to say there’s a heady sense of feminism and sexual liberty in her music.
There’s also a humourous side to her songs, from big booty worship and praise of aphrodisiacs that can help men dickmatise their wives, to the legend of Iya Lai, a neighbourhood adulteress. The song is a parody of the popular Christian song He’s Alive, Amen.
Even her switch from a devout female chorister to a singer of sexcapades is a reference point of freedom from our deeply conservative society. No wonder the Music Advertising Association of Nigeria (MAAN) and Performing Musicians Association of Nigeria (PMAN) placed a ban on her music after the release of her “Faaji Series” live audio CD in 2010, in which she also sings explicitly about sex, restricting her to only live performances. It’s hard to ignore the ban on her music as a hypocritical sexist move in a climate where barely-clothed female vixens have become a regular fixture in the music videos of male musicians.
Contemporary acts like Ayra Starr and Tems have been offered to the public as perfect examples of modern hypersexual women, rocking big hair, tiny clothes, cutting men off, flirting with men. But the flirtations of their lyrics pale in comparison with St. Janet, who is deeply rooted in the business of courting her partners. This is the form of female sexual liberation that’s missing. [ad][/ad]
For Chiamaka Dike, features editor at the women’s magazine Marie-Claire Nigeria, it’s the hypersexual branding that has sucked up the air and compelled women in music to shy away from talking about the sex they had and enjoyed in mainstream music. “Sex sells. Music companies and artists know this. It’s why these days, in the songs and music videos that babes put out, they sexually objectify themselves. So, it’s no longer natural for Nigerian female artists to express their sexuality and sex life as art,” she said.
But she acknowledges the role that a conservative society plays in making this the case. “It’s hard to see women that are unapologetically themselves and break away from the popular approach to music. The ripple effect of being sexually liberal in music is public criticism.”
St. Janet has addressed eroticism in her music as her butter and bread, and stated vulgarity isn’t new and peculiar to her alone. In an interview with ThisDay, she said: “In my music, I’ve not said anything that’s not been said before by the likes of Sir Shina Peters, Obesere and King Sunny Ade. The entire Hip-Hop generation of today’s about sex. So what have I done wrong? Is it because I am a woman? Women are the ones who’re used as mere toys for sexual appeasement of the male in many musical videos. Why does anyone not see anything wrong in that? I’m fighting for women.”
