The apathy of Nigeria\u2019s current crop of pop stars can be seen in the recent #EndSARS protests against police brutality led by young people. A vocal protagonist at the start of the agitations, rapper Naira Marley backed out<\/a> from leading a scheduled #EndSARS protest. He tweeted he had received no security guarantees about the safety of would-be protesters. <\/p>\n Marley would later say in a now-deleted tweet, \u201cYou don\u2019t need a celebrity to lead a protest before you protest. You have the same rights as them.\u201d He isn\u2019t alone. In 2019, veteran pop musician, 2baba pulled out<\/a> of a protest, citing safety concerns. Although there are still pockets of protest music today from bands such as Adebantu<\/a> and Fela\u2019s sons Femi and Seun, they lack mainstream support. <\/p>\n Since Fela\u2019s death there has been a vacuum in the Nigerian protest music scene. Many years after his death, his music is still deployed as a de facto soundtrack<\/a> of the #EndSARS protests.<\/p>\n In his days, Fela was one of several music activists. Ras Kimono, Peter-side Ottong, Mandators, Isaac Black and many others inspired resistance to military rule.<\/p>\n Nigeria is currently under democratic rule, but the country still faces challenges whose roots can be traced to the military era. Oppression is gradually creeping back into polity. <\/p>\n Read more: The daughters and sons of Fela in African Pop<\/a> <\/strong> <\/em>\n<\/p>\n In my years as a lecturer in music, here in Nigeria, I\u2019ve formulated a few answers to the question of why protest music has dried up in Nigeria. I believe it\u2019s an indirect result of increased cash in the industry. That and the fact that young Nigerians are hesitant to voice their grievances when there\u2019s the possibility of political infiltration by musicians who receive the state\u2019s patronage. <\/p>\n Music is a viable tool for all expression. That\u2019s why it\u2019s popular among protesters looking to amplify their grievances. Protest music<\/a> typically addresses topical issues in society. It is intended to inspire and initiate reforms or to sensitise listeners. It appears in every genre, from folk to Afrobeat, gospel to reggae, and has done so since the 1950s all around the world.<\/p>\n According to academic thought, protest songs can express<\/a> the perceived imperfections in the status quo. It can also provide other narratives<\/a> and possibilities for contemporary culture and give voice to the voiceless masses. It can also be seen as a propaganda device<\/a> for political persuasion.<\/p>\n In the Nigerian military era of protest music, the government hit back to limit it. Most of Fela\u2019s songs didn\u2019t receive mass media rotation. Peter-side Ottong\u2019s music was banned. Ras Kimono\u2019s songs were blacklisted or \u2018not to be played on air\u2019 by state-owned radio stations. <\/p>\n The restoration of democracy in 1999 quenched the fire of protest music in Nigeria. The restoration of civil liberties destroyed the catalysts propelling the music and the activists. Earlier, illegal detentions without trial, closure of media houses and the hounding of journalists had inspired the music. <\/p>\n But under the present regime, those evils have returned. There are many examples: the recent attempted siege<\/a> of parliament by crime intelligence forces, the arrest of anti-government activist Yele Sowore<\/a>, the killing of unarmed and peaceful protesters<\/a> from the Indigenous People of Biafra movement, and the unlawful detention of Islamic leader Ibrahim Yaqoub El Zakzaky<\/a>.<\/p>\n In my view, the restoration of democracy led to the near-extinction of Nigerian reggae music<\/a>. Reggae and Afrobeat were the chief protest genres against the military dictatorship in the 1980s and 1990s. The two leading reggae performers, Ras Kimono and Majek Fashek, went on self-imposed exile to the US. Another notable vocalist, Victor Essiet of the Mandators, relocated to Cameroon.<\/p>\n Nigeria\u2019s return to democracy in 1999 brought about major socioeconomic changes which led it to become one of the largest economies in Africa. Foreign debts were settled, foreign direct investment flowed in. Revenue from the nation\u2019s oil industry increased and the telecommunication industry grew.<\/p>\n The local music industry wasn\u2019t left out. Economic prosperity in Nigeria opened up new channels of revenue, and produced mega-rich<\/a> pop stars. From massive endorsement deals<\/a> from blue-chip companies, to sponsorship of music events, cash flowed in. Around this time, pop music emerged as the dominant genre of music in Nigeria.<\/p>\n The United Bank for Africa recently signed a $3 million endorsement deal<\/a> with Nigerian pop star Wizkid, who also has a long-running brand endorsement deal<\/a> with Pepsi. These sort of deals are commonplace in Lagos.<\/p>\n But the new money came with a price: Nigeria\u2019s leading artists now appear mostly detached from the realities facing ordinary Nigerians. It seems they would rather engage with lucrative political patrons than stand with the people against bad governance and corruption. A pop star who attends exclusive political yacht parties in Dubai is unlikely to find a voice to condemn politicians.<\/p>\n Billionaires do not lead revolutions.<\/p>\n Bad governance, dictatorship and police brutality are gradually and silently enveloping the Nigerian polity. But the musicians who once championed the cause of the masses have sold out. In their place, we have pretenders and token activists.<\/p>\n The recent emergence of local rapper Falz as a voice of the youth<\/a> is welcome. Inspired in part by Fela, his latest album Moral Instruction<\/em> is rich in anti-corruption messaging. Is he the messiah? Or are we to look out for another? Is his involvement in the #EndSARS protests the beginning of a new dawn in protest music in Nigeria?<\/p>\n
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\nWhat is protest music?<\/h2>\n
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<\/a>Death of protest music<\/h2>\n
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Current Status<\/h2>\n