Nigerian Afrobeats is witnessing a growing trend of recycling old songs to create new hits, appealing to both older and younger generations alike. This phenomenon is giving many Nigerian oldies a second chance at becoming global hits.
By leveraging their widespread influence and access to international platforms, Gen Z Afrobeats artists are effectively providing these classic songs with the global recognition they were denied in their original era.
The interpolation and sampling of these foundational works can bridge generational gaps, celebrate Nigeria’s rich musical history, and ultimately solidify the global appeal of Afrobeats. Artists like Asake, ID Cabasa, Tems, Davido, and Shalipopi have successfully re-imagined classic tunes, bridging a generational gap through shared musical experiences.
This trend brings a sense of nostalgia and happiness, demonstrating how timeless melodies can be revitalized for contemporary audiences while still honoring their origins.
Falz’s “No Less”: Afrobeats Modern Ode to Fuji
Most recently, Folarin Falana, popularly known as Falz, a prominent Afrobeats artist, fully embraced this trend with his song “No Less” from his “The Feast” album. He samples classic Fuji music hit, “Fuji Garbage” by the iconic Fuji pioneer Sikiru Ayinde Barrister.
The “Fuji Garbage” track was released in 1988 and was instrumental in blending Yoruba and English lyrics in Fuji music. Falz in his song, cleverly uses Barrister’s opening lines as an introductory montage, setting a vibrant and celebratory tone for “No Less.” This tone encourages listeners to “dance to Fuji Garbage” and embrace “maximum enjoyment.”
The song, “No Less” showcases Falz’s signature Afrobeat/Afro-rap style, seamlessly blending Yoruba and English lyrics to create a playful and engaging party anthem. The song’s catchy hook and energetic verses are filled with wordplay and celebratory themes. This makes it perfect for weekend recreation and lifting spirits.
Falz also masterfully promoted the song through a viral comedy skit on social media with Nollywood actress, Funke Akindele, and Comedian, Layi Wasabi. The skit has gone viral on social media, with users creating their own version of the skit. These actions further cement “No Less” as a modern ode to Fuji music and a celebration of fun and Nigerian musical heritage.
Tems Gives Seyi Sodimu’s “Love Me Jeje” a Second Life
Another oldie we touch on is Seyi Sodimu’s “Love Me Jeje.” The song was a pivotal Nigerian hip-hop and Afro-soul track released in 1997. “Love Me Jeje” was recently remixed by Grammy Award winner and Afrobeats Icon, Tems in 2024.
Featuring the soulful vocals of Shaffy Bello, the old “Love Me Jeje” was an instant hit upon its release. The song solidified Seyi Sodimu’s place as a pioneer in the burgeoning Nigerian music scene in the 90s. Its seamless blend of Yoruba and English lyrics and infectious melody resonated deeply. “Love me Jeje” laid a crucial foundation for what has now become the globally recognized Afrobeats genre.
While a significant success in its time, “Love Me Jeje” didn’t achieve the global recognition that contemporary Afrobeats enjoys today. This fact makes its current resurgence all the more impactful. “Love Me Jeje” is a prime example of an oldie enjoying a vibrant second life through the hands of younger, Gen Z Afrobeats artists.
The enduring influence of “Love Me Jeje” is evident in its continuous inspiration of today’s Afrobeats stars. Artists like Wizkid and Burna Boy have drawn from its timeless quality, but it’s Tems’ remix that truly propelled the original back into the spotlight. Tems’ rendition, which interpolates and is heavily inspired by Sodimu’s classic, not only reignited interest in the song but also garnered her a Grammy award. This demonstrates a powerful trend where newer artists are not just referencing, but actively repackaging and reintroducing these foundational tracks to a global audience that might have missed them the first time around.
Asake’s Afrobeats Homage to Fuji and Juju/Highlife
Asake is another Afrobeats icon who latched onto this trend. His tracks, “Active” and “C’mon look” are heavily inspired by Fuji and Juju/Highlife musical genres. Both songs prominently sample the vocals of Fuji music icon King Wasiu Ayinde Marshal (K1 De Ultimate). They come from his 2013 album K1 De Ultimate Volume 2, specifically from the hit song “Won Tun Náà.”
K1’s distinct voice, singing “ma jo fine girl” (be dancing, fine girl) in Asake’s “Active,” serves as a recurring background motif. K1’s sample, “c’mon look,” even lends its title to Asake’s track. This homage underscores K1 De Ultimate’s significant influence on contemporary Nigerian music, particularly Afrobeats.
Asake further extends his tribute to another Nigerian music titan, King Sunny Ade. The aging icon is the revered King of Juju and Highlife music. Sunny Ade’s impact on Nigerians who grew up in the late 1990s is undeniable. Asake acknowledges this with the lyric: “Fun wọn ni ijo biti Sunny o oh, Sunny o oh Ade o”. This translates to mean: “Give them like Sunny (Ade) oh, Sunny oh.”
This line directly references Sunny Ade’s iconic status, not just for his captivating songs but also for his legendary dance moves that made him one of the most popular acts from the late 1970s through the late 1990s.
Bright Chimezie’s “Because of English” Revival
In a heartwarming blast from the past, Nigerian Highlife icon Bright Chimezie has breathed new life into his four-decade-old classic, “Because of English.” This resurgence isn’t just about nostalgia; it’s a testament to the enduring power of his music and its poignant message.
The track, known for its distinctive Zigima sound, has recently enjoyed a commercial revival after being sampled by Afrobeats superstar Davido on his hit single “With You” featuring Omah Lay, off his latest album, “5ive.” This collaboration has introduced Chimezie’s genius to a new generation, showcasing the timeless relevance of his artistry. Beyond the sampling, Chimezie himself has released a stripped-back, acoustic version of “Because of English,” offering a fresh perspective on its powerful lyrics.
The original, a witty social commentary on the colonial-era policing of language, now takes on an even deeper emotional resonance. It comes with raw, resonant strings replacing the familiar highlife bounce. It’s a musical protest, a cultural reckoning that champions indigenous languages and prompts listeners to reflect on identity and expression.
Chimezie’s, “Because of English, my teacher punished me,” serves as both a vivid memory and a crucial wake-up call. It emphasizes that our native tongues are not merely tools but invaluable treasures.
This heartwarming move by Bright Chimezie serves as an inspiring example for other veteran artists. It encourages them to revisit and reimagine their extensive catalogues. The renewed interest in “Because of English” highlights a growing trend in the Nigerian music scene where classic songs are being sampled and reinterpreted by contemporary Afrobeats stars, bridging generational gaps and preserving musical legacies.
Whether you’re a longtime fan or just discovering his work, this acoustic rendition is a powerful musical monologue. It is also a mirror reflecting the importance of cultural heritage.
The Enduring Influence of the Past On Modern Afrobeats
In all, we understand that the past influences the present, which further influences the future. Many phenomena thrive on the building blocks of old successes. Now is the age of Afrobeats in world music. Reimagining or recycling old songs may be just the trick to remain relevant and continuously share our culture with the rest of the world! Let the world watch out, this is just the beginning!
