To regain relevance, Ajegunle artistes must re-invent their art

I grew up listening to different sounds. If I wanted my mood to be lightened up, I turned to the music of the likes of Baba Fryo, Daddy Fresh, Daddy Showkey, African China, Mallam Spices, Mighty Mouse, Caliban-Trybe, Rasta Levy, Danfo Driver, Nico Gravity, and the likes. All these people had something in common – they were all raised in a popular ghetto in Lagos, Ajegunle.
Their distinct brand of music dominated airwaves, enjoyed party playtime and blared from different corners of the streets in times past. They did not shy away from challenging the government of the day with their music. This came with so much fame and they gained the respect of the streets and people. And music seemed to be the only escape route from gangsterism and poverty.
Not only that, Ajegunle musicians introduced distinct dance steps, energy and fearlessness on the music scene. At different times, we had ‘Galala,’ ‘Suo’ and ‘Konto’. These are the ones I can remember at the moment.
During the glorious years of Ajegunle sound, their music was about invasion and dreams. They are a people of passion, people who were expressing themselves and what they felt through their music.
Though, the emergence of the pop culture has changed many things, I have a conviction that the likes of Daddy Showkey, Baba Fryo, African China, Daddy Fresh and others did not do enough to preserve their legacy. Today, it is not about your talents, pains and dreams again.
Baba Fryo, describing what led to the decline of music in Ajegunle, told me it was as a result of disunity.
He said, “Though they say dog do not eat dog, I don’t believe that. Ajegunle people often backbite and are envious of one another. The young artistes would get shows and tell us lies that they did not collect any money. They also engage in impersonation; they would pretend like a particular artiste just to collect his benefit. Such thing kills creativity and causes problem. When a house is divided, it spoils many things and all these bring Ajegunle music down. I am worried and I am still trying my best. If I have events I still call them, but the ones I do not call try to rubbish my name.”
Regardless of Baba Fryo’s sentiments, my belief is that the musicians were too relaxed and did not see need to follow growing trends. Music has changed not only in the delivery, but in marketing and distribution. Gone are those days when an artiste only needs ‘Alaba promotions’ to be famous. Music is now vast and requires a lot of money.
What Ajegunle musicians needed to do was to redirect their music to match what is now the order of the day. The truth is that they did not do much of that. They played the same kind of sound and people, perhaps, became tired of it.
Coming to where they are respectively career wise, Marvelous Benjy’s departure from Kennis Music at the time he left was a big blunder. He was unnecessarily controversial.
Though he later realised, it was too late. He possibly allowed youthful exuberance get the better of him. Though, African China still manages to put out materials, it would take luck to hit his former performance level. From the songs I have heard recently, it is obvious he may not have what it takes to compete again.
Baba Fryo seems to have given up on music. He is now satisfied with his life and popularity in Ojo, Lagos. They say he is now an ‘Omo Onile’ and he did not deny it when I asked. A Delta man is an ‘Omo Onile’ in Lagos!
Daddy Fresh, the self-acclaimed pioneer of music in Ajegunle, released there singles in December, 2015. He even attempted to promote the songs, moving from one radio stations to another, but none of the songs made it to the mainstream.
I was also told that Daddy Showkey released a single recently. I am yet to get to listen to it, so does most people too.
My belief is that the pop culture has killed some sounds, not only in Nigeria but all over the world. To regain relevance, Ajegunle artistes need to move with the emerging trend in music. Change is a natural development. They cannot just in sit their comfort zone and expect things to be well.
To some extent, Oritse Femi, also from Ajegunle, has shown us all an example. After going into oblivion, he rebranded himself and came back with different sounds.
Nigerians are now more inclined and attuned to the western world. It is like a game of numbers; more people are pushing towards styles they feel they can export. In Ajegunle, the boys are still doing what they are known for but the number of people doing ‘Konto’ for instance is not as much as pop.
Pop has taken over, including in the way we interpret Jazz, RnB, afro beat and others. You either identify with it and remain relevant or be against it and fade out. Some sounds even died automatically while others became stagnant. Nobody wants to be a ghetto soldier again. Ajegunle singers, just like Femi, must also look for a way to infuse their music into the pop culture.
When Lionel Richie was coming back, he had to come through the pop culture and it worked for him. He did not change his sound. He just filtered it through the pop culture. That is what, I believe, Ajegunle musicians must adopt to bring back the glorious days.”