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When Fela Aníkúlápó Kuti passed away on August 2, 1997, the entire country was consumed with grief. Fans across Africa and the rest of the world mourned his death but he was more than a musician to Nigerians.
Fela was a man of the people. He was a fighter for humanity before the word ‘clout’ was invented. There were no social media platforms or internet services to promote his views seamlessly but he did it anyway.
His lyrics were relatable to the everyday Nigerian who experienced the effects of a corrupt government and poor administration. He did not shy away from speaking against the Vagabonds in Power or calling out anybody.
Those lyrics are still relatable today.
The track, Shuffering and Shmiling, was released in 1978, yet it could have been released last week because it captures the current reality of many Nigerians.
Every day my people dey inside bus
Every day my people dey inside bus
Forty-nine sitting, ninety-nine standing
Them go pack themselves in like sardine
Them dey faint, them dey wake like cock
Them go reach house, water no dey
Them go reach bed, power no dey
Them go reach road, go-slow go come
Them go reach road, police go slap
Them go reach road, army go whip
Them go look pocket, money no dey
Them go reach work, query readyHe was beaten, jailed, and punished for his often rebellious, non-conventional lifestyle but it did not seem like he could die. Nigerians believed that Fela, also named “Anikulapo” truly held death in his pouch, a testament to his larger-than-life persona.
His death left a profound impact on a nation plagued, still plagued by misrule and a music industry desperately seeking direction.
While many Nigerians are out protesting against bad governance, hunger, increased electricity tariffs, and more, one cannot help but wonder how sad Fela would be that the issues he sang about many decades ago are still prevalent today. It is also a time when musicians are being called out for not lending their voices to the ongoing protest.
While I was too young to understand the impact of his activism during his life, his actions and songs make me believe he would be heartbroken by the current state of Nigeria.
Fela’s appeal was universal and his legacy would live forever.
Fela’s Afrobeat was universally beloved.
The rich instrumentation, polyrhythmic percussion, call-and-response patterns, horns, trumpet solos, guitar grooves, Tony Allen’s drums, and Fela’s prophetic lyrics made it impossible not to be captivated by his music.
He has inspired generations of artists in Africa and beyond.
Fela’s influence extended far beyond Nigeria. His death garnered global media attention, and the countless musicians he inspired continue to spread the gospel of Afrobeat worldwide. From bars in Moscow to carnivals in New York, Fela’s music resonates, with bands like Antibalas in the U.S. drawing inspiration from his Africa 70 band.
Fela Kuti stands alongside legends like Bob Marley, James Brown, and Elvis Presley. His fierce activism and pro-people lyrics earned him respect and recognition. Though he never won a Nobel Prize or a Grammy, Fela’s legacy as the pioneer of Afrobeat and a bold critic of societal issues endures.
The immense crowd at his funeral, which followed his coffin from Tafawa Balewa Square on Lagos Island to his home in Ikeja, demonstrated the deep love and respect Nigerians had for Fela and his music.
May Fela’s soul rest in peace, and may his legacy, spirit, and art live on forever.
