I had earlier read an interesting article on Urban Central which suggested that the Nigerian music audience gives privilege to Alte artistes (In this case, Odunsi) as regard issues that would normally spark outrage in the music scene. The article claimed Nigerians turn deaf ears to Alternative artistes when they encourage societal ills. What struck my interest the most was the assumption of Odunsi promoting illegitimate money with his hook on DRB LasGidi’s song Necessary. I did my best to understand this conclusion but I did have some reservations about it, so I decided to voice out my opinion(s) in this article.
The article brought up Odunsi’s apology about his performance at Imperial College, London, where he sampled the words, “step in the name of love” from R. Kelly, on his song, “Falling”, from his debut album “Rare.” I believe that for an artist like Odunsi, an apology is necessary for issues like this which could bring up concerns.
Beyond this apology being viewed as an empathetic and humane action, considering the whole saga clouding the R Kelly sexual assault allegations, it is also an act that could keep him from losing his fans. In reality, the Universal Music Group signed artiste is beyond an average Nigerian artiste (fan base wise).
The singer has a good amount of his fan base abroad with the feminine gender composing a greater percentage. Sexual allegations in countries like the U.S or U.K are a big deal and even indirect associations with an accused person could cause a lot of damage to an artiste’s career. His apology was a smart move on his part regardless of if you believe he meant it or just proving to be unnecessarily woke about societal issues.
Another issue I picked up in this article was the misinterpretation of his feature on DRB LasGidi’s song “Necessary” and using it as a basis for the assumption on the supposed privilege Alte artistes receive. It was concluded that the hook of the song by Odunsi aimed at, to directly quote from the article:
“glamorize, or implicitly endorse the concept of making money illegally”
I understand this to be a misapprehension of the hook of the song especially when you took the line “whether na legal or illegal” out of the narrative of both the hook and the song in general. On a side note, I approve the voicing of the backlash in the article of people who make money illegitimately and soil the name of hardworking Nigerians with their misdemeanour. sadly, some artistes encourage this in their songs and a lot of people vibe to it. However, I do not believe “Necessary” encourages this act.
I see Necessary as a song where DRB LasGidi with Odunsi as artistes, try to glorify their music hustle as they make their money from it and show how far they have come. The hook by Odunsi…
“Owo wa necessary, eh, o necessary
Eh, owo lo le fi eniyan si cemetery
Whether na legal, or illegal, woah
Whether na legal, or illegal, woah”
…does not glorify making illegitimate money and singling out the line “Whether na Legal or Illegal” is unfair to the narrative of the hook and the song as a whole. Looking at the hook as a whole, it interprets the obvious fact we all know as to how money is a necessary commodity and the power it holds in the everyday society.
I do not think because he said “owo lo le fi eniyan si cemetery (Money can put a person in a cemetery)”, we are also going to conclude he encourages people using money to do that or he does that. This line particularly shows the power of money in society.
The subsequent line “Whether na legal, or illegal” shows the extent to which money holds power in the society regardless of its source. However, it should be noted that the subsequent verses from the DRB crew in the song shed more light on this. It explains how their hustle brings them money without all these aforementioned shenanigans. I believe this hook introduces the actual core of the song, which is just the artistes trying to celebrate their music hustle which brings about their legitimate money.
“Heard you niggas sold your soul
but for me no be so
You say Fresh L no go blow
But na garri you dey soak”
These are some bars from the second verse of the song by DRB Lasgidi rapper, Fresh L. These lines pass across the rapper’s message of his refusal to engage in illegitimate means as he rebuffs “selling his soul” for money or fame. He also takes a dig at his haters, possibly the people that “sold their soul”. They claimed he won’t make it but he actually did and his haters haven’t still blown.
BOJ’s final verse is no different from what Fresh L is trying to pass across. His mention of Jameson drink refers us to the successful endorsement deal they have with the popular alcohol brand. The singer applauds himself for making his “dollars” and “pesos” from his music craft and also serenades his dope Lifestyle. He ends his verse with:
“No dey look Uche Face o
I dey run my race o”
which contextually translates to:
“I don’t care what others are doing”
“I focus on my own goals”
This summarizes the whole core of the song of them focusing on their hustle and making their money from it without influence or distractions from others’ achievements or doings.
The song Necessary is not one that concurs to the making of illegitimate money. Therefore the basis of it being used as an example of how Alte artistes are privileged in dealings with infamous societal issues is defeated.
I do agree with the article’s mention that the scale an alternative artiste operate in the Nigerian music scene is lower than that of a Street or Afropop artiste. This is a factor to consider, as a song such as Olamide’s Science Student might not bring out the same outrage compared to if it was sung by an alternative artiste. However, I could point out exceptions to this supposed Alte privilege, particularly in the case of Alte artiste — Ajebutter 22.
The singer has come under fire on Social media multiple times in the past due to his mention of “runs girls” and his promiscuity in women narrative in his last solo album “What Happens in Lagos”.
This is similar to the issue which a lot of Nigerians picked up with Falz regarding his stance of transactional sex and prostitution. The backlash on Ajebutter 22 is definitely on a lower scale than what Falz had to face even though there are similarities in their ideologies. The difference lies in the brand of Falz being considered bigger than that of Ajebutter 22.
I do not agree with the fact that there is something such as “Alte Privilege”. The Nigerian music audience scene is an unforgiving one and comes for whoever, regardless of the kind of music an artist makes. As long as sensitive societal issues are concerned, any artiste involved faces the music…literally and figuratively.
