While he started playing the saxophone in his father’s legendary Africa ’70 band from around the age of 15, there’s a latter story that signifies Femi Anikulapo-Kuti’s baptism of fire as an heir-apparent of Afrobeat. According to lore, Fela thrust a 19-year old Femi unto the stage at a concert in Paris in 1981, forcing him to play a saxophone solo he’d only recently begun rehearsing and had barely mastered. The nervous young musician didn’t bomb, neither was he spectacular, but the major lesson was that he didn’t crack under (unnecessary fatherly) pressure.

This steeliness would come in handy a few years later, as Femi was thrust into leadership of the band – now known as Egypt ’80 – following the arrest and subsequent imprisonment of Fela by the Buhari military regime in the mid ‘80s. Having kept the momentum of Afrobeat alive in the two-plus year-long absence of its key magnetic figure, Femi opted to strike out on his own as a recording artist and performer in the late ‘80s, with the formation his own band Positive Force. Fela, clearly incensed by this move, infamously heckled his son’s first album, ‘No Cause for Alarm?’, publicly declaring his chagrin for it. The two would later reconcile, and Femi released his second album, ‘M.Y.O.B’, on Kalakuta Records.

Over three decades since making that pivotal decision, Femi Kuti has grown in stature as one of the most enduring social truth-tellers of our time, and one of the greatest saxophonists out of Africa. While it’s impossible to escape the shadow of his father, Femi’s achievements have hinged on extending the creative and socio-political legacy of Afrobeat, purposefully advancing the genre’s ethos while also standing out as a distinct, thoughtful person of his own. His 10-album strong discography is proof of his artistic genius and a showcase of his personal ideologies – which are slightly more genial and far more consistent than his father’s.

This Friday, the African music legend will share his eleventh LP, ‘Stop the Hate’, which will also serve as one side in a double album, ‘Legacy+’, with his son Made Kuti. So far, “Pa Pa Pa” and “As We Struggle Everyday” have been released as singles off the album, and they show that the musician is still very much in the business of dissecting social ills and finding new ways to refresh the distinct sound of Afrobeat. In anticipation of the album, we’ve compiled ten essential tracks that chart Femi Kuti’s musical path over the years, all of which are must-know songs for the partly unfamiliar and previously uninitiated. Dig in to Femi Kuti’s legacy below:

“Search Yourself”

‘No Cause for Alarm?‘ (1989)

With his first album, one of the things Femi did was put some distance between himself and his father’s excesses. “Search Yourself”, off side A of the album, is a public service announcement against the harmful effects of vices, specifically drug and alcohol abuse. Its overly preachy, straight-faced proselytising doesn’t land too well, but in the context of Femi’s budding career at the time, this song set the precedent for an artist willing to serve as a moral conscience to millions of Nigerians and Africans, without the complicatedness of habits many might consider as toxic. In a way, it made him less complex, but it also indicated an intent to solely focus on issues. “Search Yourself” also teased Femi’s musical direction, more influenced by the sublime grooviness of the Africa ’70 era than the strident verve of Egypt ’80.

“Theory of Togetherness”

‘M.Y.O.B‘ (1991)

By his second album, Femi Kuti’s vision as a socially inclined artist was becoming a lot clearer. He would carry out the dual duties of ridiculing societal ills caused by inept governmental institution, and preaching cordiality amongst citizens, regardless of creed and colour. Standout track, “Theory of Togetherness”, caters to the latter part of this mission, with Femi positing that the world will only come close to paradise when we all get along much better. On paper, it sounds quite corny, but considering how deeply divided the world is due to various forms of bigotry, religious prejudices and racism, cordiality and mutual respect despite differences doesn’t sound like a terrible solution. Also clearly improved as a composer since his first LP, “Theory of Togetherness” exhibits Kuti’s understanding of Jazz as a foundational element of Afrobeat, with the arrangement hinging on a loose, remarkable synchronicity between all the parts involved.

“Wonder Wonder”

‘Femi Kuti‘ (1995)

Just like his father, Femi Kuti is a staunch pan-Africanist. The cover for his eponymous, 1995 major label debut album superimposes a map of the African continent on a picture of Femi Kuti holding his saxophone while staring at the camera. Opener, “Wonder Wonder” wastes no time in advocating for African unity, starting off with an intro bridge that remains true till date: “many things dey happen for this world wey go surprise you, confuse you, depress you, turn you wonderer.” On the first verse, he quickly invokes the memory of former Ghanaian president and model pan-Africanist, Kwame Nkrumah, invoking history while espousing the potential benefits of unity. The second verse is far more caustic, as Kuti takes aim at the exploitive overtones of religion on the continent. Rumbling right beside him is one of the funkiest arrangements in his entire catalogue, punctuated by delightfully squealing horn motifs, a sprightly rhythmic section and indelible call-and-response chants.

“Truth Don Die”

‘Shoki Shoki’ (1998)

Without being the least bit hyperbolic, “Truth Don Die” is one of the very best feats of songwriting in Femi Kuti’s catalogue, both as a composition and a piece of social commentary. As the opener to his fourth album, “Truth Don Die” set a ferocious, poignant tone for a body of work that’s widely regarded as a tour de force in Afrobeat and African music at large. In an unflinching indictment of society, Kuti rants about the collective penchant for lies to trump the truth, using personification and a fair bit of storytelling to get his point across. His singing is incensed, opening up a delivery dimension he had yet to fully explore till then, and it feels fitting striding atop a viciously catchy groove that will vibrate your bones, even till this day. Whether it’s corrupt government officials lying to its citizens, or the daily dishonesty rampant in interpersonal dealings, “Truth Don Die” works on multiple thematic levels, while hitting a phenomenal musical zenith.

“Beng Beng Beng”

‘Shoki Shoki’ (1998)

After Fela’s passing in 1997, Afrobeat began to witness a renewed level of interest, both locally and internationally. Femi seized the moment with the magnificent ‘Shoki Shoki’, which had “Beng Beng Beng” as its commercial focus track, and arguably the musician’s biggest song till date. Having cut a serious figure over the entirety of his preceding catalogue, this was Femi’s assertion that he was no prude, laying down a straightforward sex scenario over a slightly kitsch blend of Afrobeat and dance music. Considering its continental success, “Beng Beng Beng” is proof of Africa’s sex-crazed society, despite our deeply conservative public outlook – Femi Kuti briefly tapped into that to deliver one of the biggest songs about sex in the last few decades.

“Sorry Sorry”

‘Shoki Shoki’ (1998)

Months before the release of ‘Shoki Shoki’, Sani Abacha had passed away after nearly five years of being a brutal dictator. That monumental death gave way to proceedings for Nigeria’s third democratic republic, which, unsurprisingly, was partly spearheaded by top military officials. This political make-up stirred up scepticism amongst many Nigerians, including Femi Kuti, who issued out “Sorry Sorry” as his letter of cynicism towards the potential, next ruling class. “Politicians and soldiers make meeting, our country dem wan repair/dem dey make like say dem know say na dem spoil our country,” he sang in irritation. Although he never gets into specific name-calling, he references Fela’s incendiary “Zombie” while claiming there to be no difference between soldiers of the military regime and those seeking office through democratic means at the time. Considering the presidential predicament we’re currently in, “Sorry Sorry” was quite prescient. (For follow-up, see 2018’s “Dem Militarize Democracy”.)

“Water No Get Enemy”

‘Red Hot + Riot: The Musical Spirit of Fela Kuti‘ (2002)

In his vast discography, “Water No Get Enemy” is one of the best known Fela songs, a unanimous classic that easily resonates with listeners of multiple generations due to its accessible, poignant message. On stage and on wax, Femi Kuti has covered “Water No Get Enemy”, but this collaborative effort is a wonderful reinterpretation of the seminal song. In the early ‘00s, Femi was orbiting around the Soulquarian movement, which was an integral part of the invention of neo-Soul and the reinvigoration of Jazz/Soul-inspired Hip-Hop at the time. This relationship influenced his fifth studio album, ‘Fight to Win’, but it’s this cover, off Red Hot’s Fela cover album, that best provides proof of a creative synergy. After an intro cut that reprises the original arrangement, this song slips into an Afrobeat meets neo-Soul hybrid, with Kuti taking the lead in front of the ever-delightful D’Angelo and vocal goddess, Macy Gray. Backed by an all-star band that includes Nile Rodgers and Roy Hargrove, the trio pay respect to Fela’s classic, while having fun with it at the same time, flowing into one another with the same forceful grace water’s unstoppable flow is praised on the song.

“‘97”

‘Africa Shrine (Live)’ (2005)

Even though their relationship had several stresses and strains, it’s undeniable that Femi Kuti idolised his father, so, of course he felt immeasurable pain when he passed away in August 1997. On ‘Fight to Win’, he immortalised the events of Fela’s momentous funeral proceedings on a track named after the fateful year, “‘97”. To fully grasp the emotional weight of the song, you should listen to its live rendition on the 2005 live album, ‘Africa Shrine’. While the in-studio version is aptly glum, there’s a looseness on the live version that allows for an affecting ray of sunshine. After appreciating the fans for making Fela’s burial ceremony an unprecedented success, Femi sings of the uncertainty behind the proceedings, and the passing of his sister, Sola Anikulapo-Kuti, shortly after. “’97 (Live)” is sung from a retrospective perspective, remembering the pain without letting it consume his gratitude. For better appreciation, you should watch video footage of the performance.

“Wey Our Money”

‘No Place for My Dream‘ (2013)

As he’s gotten older, Femi Kuti has only gotten bolder. Though he isn’t extremely combative, a handful of songs show that he’s capable of calling out specific names even while addressing the general ruling class for its ineptness. “Wey Our Money”, the rollicking penultimate cut off his ninth album, addresses political corruption with burning fury. Kuti’s rage is poured out generally, but he also does some name-calling that includes some of the most recognisable political figures in the last three decades, all of which are widely alleged to have diverted public funds whilst in office. This boldface approach is driven by a ska-inflected take on Afrobeat, as Femi Kuti has only continued to tinker with the genre’s confines while pulling in outside influences.

“One People One World”

‘One People One World‘ (2018)

Nearly thirty years after promoting the idea of global cordiality on “T.O.T”, Femi Kuti has clung tighter to his hope of a utopian world with zero conflicts stemming from prejudice. Although he effectively entered into elder statesman territory on his last album, ‘One People One World’, his message largely remained the same, albeit with a wisened edge to his trademark lively delivery. “Racism has no place, give hatred no space”, he admonishes on the title track, a sentiment he’s been peddling throughout his career. This time, his message is given a riveting, fresh new coat with the stunning instrumental arrangement, featuring one of the best and instantly memorable horn themes in his entire discog. “One People One World” is a testament to Femi Kuti’s resilience because, even though the world isn’t changing fast enough (if at all), he’s determined to keep fighting the good fight, as he continues to constantly refresh his chops and strive for musical excellence.

Dennis is a staff writer at the NATIVE. Let me know your favourite the Cavemen songs @dennisadepeter

ICYMI: “FINDING FELA” & THE IMPORTANCE OF WHOLESOMELY DOCUMENTING AFRICAN MUSIC’S HEROES

Related Articles

Luwa.Mp4 Releases Riotous Debut Album, ‘punKstA*’

Across the album’s 12 tracks, Luwa.Mp4 continues his fiery exploration and fusion of genres like Punk Rock,...

Rising singer and rapper Luwa.Mp4 has released his debut album titled ‘punKstA*.’ The underground star...

Rising singer and rapper Luwa.Mp4 has released his debut album titled ‘punKstA*.’ The underground star who has been on a release spree all year long, announced the imminent arrival of his debut only a couple of days ago with a cryptic trailer video and an Instagram caption that simply read ‘PUNKSTA* MONDAY.’ 

Before the arrival of ‘punKstA*,’ the rising fusion star had been showcasing his diligence and talent with a consistent output that has seen him put out over a dozen songs since the start of the year. A string of singles led to a 6-pack titled ‘lore skooL,’ while a deluxe version that housed 5 new songs came just a month later. 

 

His debut album’s lead single, “pUNK FANTASY,” arrived in late July, setting the stage for what could prove to be a pivotal moment in the underground star’s burgeoning career. 

Across the album’s 12 tracks, the eclectic singer continues his fiery exploration and fusion of genres like Punk Rock, Afropop, Hyperpop, and Rap into something uniquely different. Tracks like “Pure Water,” which was previously teased on Cruel Santino’s Subaru Live Stream, the abrasive, Tecno-influenced “pROMISED NEVERLAND,” and the more laidback “pEEp MY RIDE” put on display the sort of varied, autotune-soaked approach that has set him apart and helped carve a growing niche. 

 

While Luwa decided to go solo on his debut, credited as the only recording artist, the album was brought to life by a cast of talented producers like frequent collaborator TOPSY, Emyboi, JTRN, 3CB, FVKK.ANDI and Jeremy Cartier.  

Listen to ‘punKstA*,’ here.

Keep reading...

Shekhinah Returns With Surprise Album, ‘Less Trouble’

The South African R&B star is at her most assertive on her first album in four years.

South African R&B and Pop singer Shekhinah has released a new surprise album titled ‘Less Trouble.’...

South African R&B and Pop singer Shekhinah has released a new surprise album titled ‘Less Trouble.’ The Durban star, who had been quiet for most of the year, took to social media shortly before midnight to share the new album’s cover, synopsis, and tracklist, simply stating, ‘If you’re seeing this my album LESS TROUBLE is out now at Midnight,’ in an Instagram caption. 

The soulful singer first began teasing ‘Less Trouble,’ her first album in over four years, about a year ago when she released its lead single “Risk,” a bouncy Afropop-inspired collab with Ghanaian star MOLIY. A few months after the release of “Risk,” she put out “Steady,” a dreamy pop number that suggested that something bigger was on the horizon. But then it was largely radio silence about a project until its surprise arrival at midnight. 

 

If 2021’s ‘Trouble In Paradise’ represented a coming-of-age for Shekhinah, subsisting some of the dreamy, youthful exuberance of her debut album for more measured musings on themes like heartbreak and grief, ‘Less Trouble’ finds her at her most assertive, writing and singing with the acuity of someone who is grown, decisive and discerning. The delicate opener “Break Up Season” sets the tone for the rest of the album as she shows little tolerance for shady behaviour and toxic patterns. 

Other standout cuts on the album like “Bare Minimum,” a sombre collab with fellow South African award-winning singer lordkez, the ethereal, in-your-face interlude “New Casanova,”  and the percussive “What Are We,” where Shekhinah contemplates the nature of a relationship but ultimately demands all or nothing, all drive home a part of the album’s synopsis, which reads ‘A BOOK ON MORE HEARTBREAK BUT LESS HEARTACHE.’ 

 

Shekhinah invites a couple of new collaborators on ‘Less Trouble,’ featuring the aforementioned MOLIY and lordkez as well as multi-instrumentalist Mars Baby and Young Stunna across the album’s 11 tracks. Mpilo Shabangu handled the majority of the album’s production, while other producers like Michael Morare, her longtime collaborator, Mthintheki Mzizi, and Vuyo also contributed to the album. 

Listen to ‘Less Trouble’ here.

Keep reading...

The NATIVE’s First Impressions Of Amaarae’s ‘Black Star’

‘Black Star’ marks another evolutionary arc for Amaarae, and The NATIVE team offer our thoughts after a...

Change has always been a constant theme in any discussion about the career of Ghanaian-American star,...

Change has always been a constant theme in any discussion about the career of Ghanaian-American star, Amaarae. Since she emerged as a singular voice in the late 2010s, she has evolved from a sirenic Afropop-adjacent singer into a Punk-Pop firestarter with minimal fuss. ‘Fountain Baby,’ her 2023 sophomore album, was a sweeping departure from the lilting melodies and shapeshifing cadences of the hypnotic ‘The Angel You Don’t Know,’ emphasizing her commitment to charting new courses with her music. 

In the lead-up to her new album, ‘Black Star,’  she has wholly embraced a Pop aesthetic and sheen that was reflected on the album’s promotional singles, “S.M.O.” and “Girlie-Pop!.”  Now that the album has arrived, the singer has advised listeners not to go in expecting a continuation of the soundscape on ‘Fountain Baby.’  As keen followers of Amaarae’s career from its start, we are sure that ‘Black Star’ marks another evolutionary arc for her, and we offer our thoughts after a few listens. 

WHAT WERE YOUR EXPECTATIONS OF AMAARAE GOING INTO THIS ALBUM? 

Kemnachi: I had zero doubts that she would impress me again. Amaarae always comes correct. She is audacious with her choices, taking creative risks most artists would not dare to imagine, and somehow rendering them seamless, deliberate, and effortless. Her music has a way of enveloping me: it’s fluid, slightly dangerous, and yet irresistibly sensual. Every project feels like an immersive world she has curated down to the finest detail. With ‘Black Star,’ I knew it was not going to be a mere collection of songs but another meticulously constructed realm.

Bamise:  I expected something fun, genre-bending, and sonically diverse in the fashion that Amaarae’s music typically is. I may have taken the album title a bit too literally, though, because listening made me realise I had an eye out for some Pan-African statements or something to spark discourse on African identity, but I didn’t quite catch any of that. 

Boluwatife: Amaarae has largely delivered throughout her career, so I knew she was going to come correct again. She’s one of those forward-thinking artists who take the kind of risks most others wouldn’t, but she always manages to make it work. She’s proven to be a musical omnivore who constantly meshes her wide-ranging influences into something new, fluid, icy, and more often than not, sensual. I knew ‘Black Star’ wasn’t going to be any different. 

WHAT SONGS STOOD OUT ON THE FIRST LISTEN?

Wale: I liked “Girlie-Pop!.” I feel like it captures Amaarae’s vision of pushing Afropop into the future. She’s also really grown comfortable with music and lyricism and will not dumb down her message for anybody. The instrumental for “Girlie-Pop!” is also a wonder; it’s so dense, but there are pockets for Amaarae to be emotive about her feelings. Top song!

Daniel Akins: I need to hear  “B2B” at the next rave I’m at. Amaarae is in her Dance era, and I’m here for it. Kiss Me Thru The Phone pt 2”  with PinkPantheress is the collaboration I  knew I needed, and I’m glad they finally linked up.  It’s a clear standout on the project; their ethereal style complements each other. 

Shina: “B2B” was the one that did it for me. That is my favourite track on the project. The number of times I ran it back was unhealthy for a first listen. It was also really fun to catch the Don Toliver “Best You Had” sample. I need to hear this outside!

HOW WELL  YOU THINK THE GUEST APPEARANCES ENHANCED THE LISTENING EXPERIENCE?

Israel: The guest features on Black Star aren’t mere flexes. They’re strategic, theatrical, and sometimes emotionally resonant. They enhance, yes, but they do so on Amaarae’s terms. A standout for me was PinkPantheress on “Kiss Me Thru The Phone pt 2.”  The tradeoff is that a few songs feel like dazzling cameos rather than an integrated conversation, yet overall they enhance the album’s drama, texture, and bravado with precision.

Daniel Banjoko: Everyone showed up and delivered, no weak links here. Instead of just guest spots, they felt like vital pieces of a bigger puzzle. Charlie Wilson on “Dream Scenario” nailed his part especially, making the track sound exactly like its name promises.

Moore: The guest appearances on ‘Black Star’ feel very intentional; each one enhances the album’s world without overshadowing Amaarae’s vision. PinkPantheress’s signature airy delivery meshes with Amaarae’s experimental pop sound. Naomi Campbell’s commanding voice on “ms60” is an unexpected but powerful addition, adding drama to the track. Each feature feels carefully chosen. 

WHAT SONG IS THE BIGGEST SKIP? 

Bamise: Not to be a party pooper, but I don’t get the PinkPantheress collab, “Kiss Me Thru The Phone pt 2.” It feels like a PinkPantheress song with less pop in it, and just borrows the title of the iconic Soulja Boy song but has no other similarities. It’s between that and “ms60.” For me, the chorus of that sounds like something I’ve heard from Amaarae before, and I doubt its absence would have diminished the album. 

Shina: I feel like biggest skip is a strong word for a solid project, but if I have to pick a song to skip, it’ll be “ms60.” I think it’s easily forgettable.

Wale: It’s hard to single out a song that stuck out to me, but hearing Naomi Campbell on “ms60” threw me off. It’s just too contrived to bear for me. 

WHAT SONG HAS THE BIGGEST HIT POTENTIAL?

Boluwatife: My gut answer would probably be “She Is My Drug,” just because of how she beautifully reworks the melodies from Cher’s “Believe.” DJ remixes of this song could go crazy. But if I were to think a bit more logically,  TikTok would probably lap up “Kiss Me Thru The Phone pt 2.”

Daniel Banjoko: “Kiss Me Thru the Phone pt 2” goes crazy. Amaarae and PinkPantheress are the perfect match. This collab feels like it was destined to happen, and it delivers in full. Honestly, I can’t believe it took this long, and now I just need more tracks from these two, ASAP.

Moore: “Kiss Me Thru The Phone pt 2” has the biggest hit potential on the album. The song has a nostalgic, sad party girl vibe that makes it appealing, and it’s also catchy and well-produced. PinkPantheress consistently performs well on platforms like TikTok, and her fanbase overlaps in a really interesting way with Amaarae’s. The collaboration feels organic and exciting, and will likely create a lot of buzz.

OVERALL FIRST IMPRESSIONS

Wale: There is a very visceral quality to how Amaarae expresses desire that I don’t hear very often in a lot of music. It’s abstracted and warped in futuristic textures, but it’s very profoundly human, and it’s always great to hear that even as she advances the sonics of her delivery. I do, however, have an issue with the thematic scope of ‘Black Star.’ I thought there would be overt references to her experiences of navigating her Ghanaian identity, but those references are limited to samples and interpolations. It’s still an incisive listen and a triumph for finding ways to advance music from Africa. 

Bamise: It’s Amaarae; she can never go wrong. But for me, this is the album that excites me the least from her catalogue. Other than how bass-heavy some songs on the album are, like “S.M.O.” and “She Is My Drug” among others, it feels similar to other projects I’ve heard from her in a way that’s not exactly refreshing or mind-bending. I may have gotten spoiled by how diverse and eclectic Amaarae’s music tends to be, but I wanted more from her. I expected more gangster, Hip-Hop Amaarae.  Thematically, I didn’t get anything that gives the Black Star of Ghana, or black stars are ruling the world. Will I listen again and enjoy every bit of it still, though? Yes, I will. 

Shina: So first off, this is a solid body of work. I love the fact that Amaarae stuck with the Dance, Electro-Pop route she was going with throughout the album. The features also played their part, adding their unique touches to each record. I would say, though, a feature I would’ve loved to hear on this project is 070Shake. I think she would have been perfect on “100DRUM,” but we don’t always get what we want, do we? Thematically, I think Amaarae could’ve leaned heavily on her Ghanaian heritage, seeing as the title and cover of the album are a nod to that. Maybe Amaarae just wants us to dance, and that’s what I’m just gonna do, and you should too.

Keep reading...

Load More