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Growing up in Afrika Shrine made me free — Made Kuti

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Singer, Omórìnmádé Aníkúlápó-Kútì, known professionally as Mádé Kuti, speaks to NAOMI CHIMA about his career and life as a member of the musically-acclaimed Kuti family

Growing up in a family with music and activism all around you, what were some of your earliest memories of life at the New Afrika Shrine?

One sure memory was when the New Afrika Shrine was opened. This wasn’t the original shrine where Fela performed, but the one my dad, Femi, and my aunt, Yeni, built in 2000. At the opening when I was just about five years old, I played the trumpet. Another vivid memory is of my dad performing four times a week in his 40s. On Fridays, I would sometimes watch him play all night for six hours, then head straight to school in the morning. The shrine gave me freedom. I was a troublemaker — jumping on tables, riding bicycles and skateboards. All my childhood memories of the shrine are happy ones.

Was there ever a time you considered another career besides music?

No! My interest in music developed naturally from all the exposure around me. It could have gone either way, but luckily, I loved it. Every instrument I wanted to learn, someone in my dad’s band taught me the basics. I moved fluidly from one instrument to another — it never felt forced. My dad only told me, “Practice if you want to be a good musician.”

What instrument did you learn first, and how many can you play now?

The first was the trumpet, then sax, piano, guitar, and drums. Between ages 15 and 18, I focused on piano so I could pass an exam for university. After that, I picked up the others again. I now play five comfortably. I tried violin once but never continued.

As someone with afrobeat roots and formal Western training, do you feel a responsibility to blend the two, or do you just let music guide itself?

I let music guide itself. Afrobeat is always the foundation, because it’s the genre I enjoy the most. From there, I allow everything else to flow naturally. I don’t constrain myself. Even on my latest album, you’ll hear a lot of stylistic differences. I am happy with that.

Would you like your children to become musicians?

I would like them to be whatever makes them happy. I just want them to have the same kind of freedom and liberty I had.

Do you think your family name influences the way the audience perceives your music?

I have always considered it a blessing to be part of such an incredible lineage; not just in entertainment, but in medicine, activism, and academics. From Doctor Koye to Doctor Beko, to Israel Oludotun Ransome-Kuti, it is a powerful heritage. I know that whatever I do creatively will always be attributed to the family, and I’m okay with that. However, I wish that people could sometimes take my music as art in itself, beyond the lineage. Yes, afrobeat exists today, thanks to Fela and Femi; but if I wasn’t a Kuti, how would people receive this same music?

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Do you feel pressure to outdo your father or grandfather?

Not really. That burden fell more on my father’s shoulders. He had to create his own path while Fela was still at his peak. When my dad released his first hit, ‘Wonder Wonder’, people even claimed Fela wrote it for him. He had to deal with that stigma. My dad, unlike Fela, has always been very protective. He constantly gives me accolades and ensures people know I’m doing my own work.

What is the most important lesson you’ve learnt from your father?

Discipline. My dad worked incredibly hard, practising for long hours before performing. I also saw the struggles he faced touring internationally, especially when musicians used those trips to disappear and never return. This not only disrupted tours but also made it harder for other Nigerian musicians to get visas. That behaviour discouraged many top artists from touring with local bands. It taught me how deeply Nigeria’s circumstances can distort people’s sense of loyalty and responsibility.

How do you approach songwriting, given the political and social themes in your work?

I usually prioritise music first — the texture, instrumentation, and structure — before lyrics. Many of my pieces are instrumental or have minimal lyrics. When I do write, it’s about issues I connect with, like jungle justice or Nigeria’s security failures, as in ‘Story with my Dad’. My latest album is more introspective, focusing on happiness and self-responsibility. It encourages people to stop blaming others and realise that if 200 million Nigerians worked together, real change could happen.

What inspires your stage presence?

It took time to overcome nerves, but experience has been my best teacher. From playing bass and sax in my dad’s band to classical piano recitals and leading my own shows, I grew more confident. Smaller crowds can even be tougher than big ones. Ultimately, I learnt from my dad but refined my style through years of performing.

How do you balance being a husband and a musician?

That’s the easiest part of my life. My wife runs her own clothing brand, but she’s also my personal assistant, handling social media and everything related to my work. She travels with me for international gigs when possible. We are very naturally compatible; no stress or pretense.

How has marrying someone from a different tribe impacted your relationship?

Not at all. My family is already very mixed, and when I met my wife, it wasn’t about ethnicity; it was about values. Only during the last general elections did I notice ethnic tension, but I ignored it. I’d make the same choice a hundred times over.

What do you think Nigerian youths should focus on right now?

Young people need to move away from the distractions of Instagram and TikTok, and focus on resource-based information that helps them grow. Nigeria can either regress into complacency or rise with responsibility.

Do you feel pressure to use music for activism like your father and grandfather?

My grandfather and father did it powerfully. But I ask myself if people really listened. Doing the same thing may not bring new results. My focus is on individual accountability and cultural change. People often ask why I don’t sing about politicians, but what can I say that Nigerians aren’t already saying? If I do it aggressively, it might even seem like pandering. I prefer to sing about what I feel will be effective.

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Who are your biggest musical influences?

As a teenager, I was into indie bands like Arctic Monkeys, Muse, Coldplay, and Radiohead. I’ve always been more drawn to instrumentalists than vocalists.

How do you unwind when not making music?

I play football every Saturday at my former school, play chess, relax with family, watch Netflix with my wife, and read.

How has your music evolved over time?

My first album came out before I ever played live. But performing at the Shrine, around Lagos, and internationally has shaped my songwriting. Learning from audience reactions has been my greatest teacher.

What advice do you have for musicians from famous families who want to stand out?

Don’t focus on standing out. Just be yourself and create honestly. I am blessed with access to the Shrine, a space I’ll never take for granted. The beauty of art is that it stands out naturally, even if not immediately appreciated.

How would you describe your relationship with your family?

We are a very close family. My dad, Seun, Aunty Banke, Kunle, Aunty Motun; everyone was around when I turned 30. The family extends beyond the Anikulapo Kuti name. There’s also the Ransome-Kuti side—Aunty Nike, Uncle Dotun—we’re all very connected. Even my grandmother— Remilekun Ransome-Kuti— Fela’s first wife, who just wrote a book; her side of the family is in London, and we always link up whenever we’re there.

What are you most grateful for?

The people I have had around me. I once told someone, “My dad is not a nepo baby,” because he grew up almost totally disenfranchised. Despite having a famous father, Fela publicly shamed him, and he had to teach himself everything, including the saxophone. One of his sisters even suggested he become a fisherman because “there’s more money and opportunity there.” Even now, at 62, my dad practises at least six hours a day. I admire that.

I have joked that we all probably need therapy, but the only reason my dad doesn’t is because he was brutalised and forced his way through life. Unlike him, I had access to the opportunities he wanted, such as studying music. He was pulled out of high school. I can read and write music, and I had great teachers, including my dad and a classical piano teacher from Argentina named Juan. I also had the support of my aunt, who was my guardian in London for seven years. My dad’s guidance even helped me choose the right wife.

I am also grateful for my five younger siblings, none of whom are into music. One wants to be a lawyer, another is into basketball. Ayo, who is popular on Instagram and TikTok, is very different from me.

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Do you have any regrets?

Yes. I wish I had practised more when I was younger. I regret jumping from instrument to instrument, instead of learning them one after the other.

What’s the greatest challenge you’ve faced as a musician?

Trying to master your craft is incredibly hard. Some days are good; others are really bad. Instruments like the trumpet are deceptively difficult. It looks innocent, but it’s more demanding than the saxophone because it relies on mouth muscles that weaken quickly. If you skip practice for just three days, your sound suffers.

What’s your favourite food?

I don’t have a favourite anything. That’s my dilemma.

Do you have any other hobby aside from music?

I like cooking. I cooked in London for seven years, and now it’s a hobby. I cook for my wife on Valentine’s Day—more food than I can even eat. I also enjoy cleaning. I’m not obsessive, but I believe if you want to make the world a better place, start with your own space.

At home, no one is allowed to wear shoes inside; we even have signs everywhere. I still do chores, though I don’t really need to anymore, since I now have a community and employees. But growing up, my dad was a stickler for character more than career. He believed if you have good character, everything else will sort itself out.

What has your musical journey been like in recent years?

The past few years have been good to me. I have had opportunities many musicians don’t, but that’s largely thanks to performance income, not recordings or streaming. However, the Lagos music scene is struggling. A lot of venues and gigs have disappeared. The economy’s crumbling, and people can’t afford to pay musicians who don’t pull massive crowds. Many great musicians aren’t getting shows because no one wants to take the risk. So, while I’ve been fortunate, the industry in Nigeria is in a really poor state for most artistes.

What are you working on now?

I just released an album titled, ‘Chapter One: Where Does Happiness Come From?’ It’s an introspective project meant to inspire a mindset shift, not just for Nigerians, but globally. The world feels like it’s entering a dark age, with war, technological dominance, drones, and AI replacing jobs. We are slowly stripping life of its humanity.

I am currently performing and promoting the album. We are in Paris on October 20, Berlin on the 15th, and Montreux, Switzerland, where I’ll be a mentor for three days. After that, I’ll return to Lagos to play at the exhibition at Ecobank, running from October to December. It’s a major showcase of Fela’s legacy, featuring both physical and digital material. I’ll be performing there on October 31.

What do awards and recognitions mean to you?

To me? Not much. But to my career? They’re a great opportunity. Awards don’t make my songs better, but they open doors, bring more attention and credibility.

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PHOTOS: Meet Prince Abimbola Onabanjo Of Ijebu Land(the New Awujale Of Ijebu Land Elect)

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I have heard that one of the strong ọmọ ọba who may likely clinch the highly exalted stool of the next Awujale of Ijebu Land, according to some reports, is Prince Abimbola Onabanjo.

Prince Abimbola Onabanjo hails from the royal family of Fusengbuwa in Ijebu-Ode. He is a 2007 graduate of Banking and Finance from Lagos State University (LASU) and has undergone several Graduate Business Executive trainings at prestigious institutions, including Harvard Business School, Columbia Business School, and The Wharton School, University of Pennsylvania.

Popularly known as Prince Abimbola among friends in Ijebu and Lagos, he is a young businessman with close to 20 years of experience. He is the Chief Executive Officer (CEO) of Kleensteps Holdings, Extol Securities, and KMF Oils and Gas Limited.

Beyond his business accomplishments, he is also a philanthropist who has contributed immensely to several charitable projects across Ijebu Land in recent years. Few years ago, he reportedly committed 25m naira to 25 schools across Ijebu Ode as part of his vision for long term development of the land.

The young Prince had also in the past support the rehabilitation of road projects in Ijebu including the Balogun Court, Ojusgagbola Avenue, Abusalawu Street, and sections of Osipitan road. And there are many community projects like this, done from time to time.

Well, as the selection and ascension process is currently ongoing, I pray that the family heads, in choosing among the eligible princes, will do the needful.

A few weeks ago, I wrote about another prince, Dr. Adekunle Hassan, a 75-year-old ophthalmologist.

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Many reactions suggested that people would prefer the next Awujale to be young rather than elderly. Whatever the reasons may be, I hope this charming Prince Abimbola satisfies that wish 😊.

My foremost concern is fairness in the process and that only the legitimate and rightful ruling house as recognised in the Gazette should be allowed to produce the next king, and not ganusi from any corner. This is how we properly protect our heritage for posterity.
As a people, we must learn to wait for our turn.

I also hope that whoever emerges as the next Awujale will be blessed with wisdom, knowledge, and deep understanding of the sacred role of a traditional ruler in Yorubaland, as one who will be seen as a father to all, without prejudice to social class, religion, or age.

And one who will rule with wisdom and peace, and bring meaningful development to the land through the support of sons and daughters of Ijebu, as well as through strong networks in society.

May the best prince emerge.

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PHOTOS: Nollywood Actress Allwell Ademola was finally la!d to rest in Lagos

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Nollywood actress and film producer Allwell Ademola was laid to rest on Friday at Atan Cemetery, Yaba, Lagos State.

It was reported that the actress died on December 27, 2025, at the age of 49.

Colleagues from the film industry, including Afeez Abiodun, Rotimi Salami, Kunle Afod, and Abiola Adebayo, among others, attended the burial to pay their last respects to the actress, who was widely known for her role as “Mama Kate” in the 2018 film “Ile Wa.”

In viral videos seen by this newspaper, the actors who attended the final rites were visibly emotional, breaking down in tears as they poured sand on Ms Ademola’s coffin, which had already been lowered into the grave.

During a brief sermon at the cemetery, the pastor who officiated the burial urged attendees to reflect on their lives while they still had the opportunity.

Reminder

He said the burial served as a reminder that everyone would one day face the same end.

He added that the moment should prompt deep reflection on how one’s life journey would conclude, particularly for those harbouring malice or engaging in wrongdoing.

The pastor said, “Then you will discover that nobody has time. The will of God is that this should help us mend our ways before our Maker. He said the righteous will always consider this in their hearts. What are we going to do with this? She has lived her life. She has run the race and has gone to meet her maker, but what we are doing here is for you and me. As for her, she is rejoicing in the bosom of Abraham.

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“How will you end your journey? That malice, wickedness, “I will not agree” — who knows what is next? That is the million-dollar question before us today. Because in the next few days, nature has a way of putting forgetfulness in things. But will you remember that one day it will be my turn, just as it is her turn today? What God expects of us when we see things like this is to look up to God and say, ‘Father, help me to make the best of the time that is left.’”

Candlelight procession and service of songs

At the candlelight procession and service of songs, actors gathered to offer special prayers in memory of their late colleague.

The event, which took place on Thursday, was attended by prominent figures in the industry, including Odunlade Adekola, Saheed Balogun, Bolaji Amusan, Iyabo Ojo, Fausat Balogun, Eniola Ajao and Fathia Balogun. Many attendees wore customised white T-shirts bearing Ademola’s portrait as a mark of tribute.

In an emotional moment captured on video, Salami, widely regarded as one of Ms Ademola’s closest friends in the industry, delivered a heartfelt tribute.

Fighting back tears, he asked for forgiveness on behalf of the late actress.

“If there’s anyone Allwell has offended, directly or indirectly, please, forgive her and keep praying for her. I think the only thing we can actually do is find a way, in unity, to keep her legacy. Even if she’s gone, let all that she has done stay with us and be with us.”

Salami also announced that he would offer one day of free work to anyone who approached him for a film project.

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Apology from Allwell’s brother

Meanwhile, one of the late actress’s brothers issued an apology to actress Ojo over remarks he had made following his sister’s death.

He offered the apology during the service of songs held in her honour. Previously, a video that went viral showed him criticising some of her colleagues for their public tributes at the time of her passing.

In the video, he said, “All the ‘Rest in Peace’ messages and public displays of love are fake and hypocritical. Where was this love when she was alive? When she produced Eniobanke, none of you promoted it. You all claimed to be friends, yet you never supported her work or career, even though she supported many of you. During the Jagun Jagun production, no one called her or offered her a role.”

“Some of you, the likes of Lateef Adedimeji, Owonikoko, Iyabo Ojo and others, came to our house to shoot movies, yet you never found it worthy to stand by her. If you couldn’t support her while she was alive, don’t perform loyalty now that she is gone.”

However, Ojo, a mother of two, responded publicly to the claims, affirming that she had supported the late actress during her lifetime.

She wrote, “I oversupported your sister when she was alive, when she was building her career as a Producer and director, I featured in her movies countless times for free, and I also supported her financially and emotionally. May her beautiful soul continue to rest in perfect peace,” she said.

While apologising, he said, “Please ma, don’t be offended. I did not mean to abuse you; I was not referring to you at all.”

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Why Yoruba language may become extinct!

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One major issue that caught the attention of Nigerian writers, historians, journalists and linguists amongst others in January 2020, was the adoption of 29 Nigerian coinages and words from, especially Yoruba and Hausa languages, into the Oxford English Dictionary. Words and colloquial, such as danfo, okada, buka, k-leg, to eat money, next tomorrow, chop-chop, gist, sef and 20 others were officially accepted for everyday use as part of the English language.

There was widespread ecstasy generally amongst many Nigerians – both the lettered and the unschooled masses were united in their celebration of this recognition, especially coming from our former colonial masters – because the British that gave us a lingua franca, now were accepting our own languages, our own native words to be part of English language, after several of us were caned by British-tutored Nigerian teachers for speaking “vernacular” in primary schools in those days. You will agree with me that the joy is not unfounded. Filipinos perhaps, felt a similar joy in 2015 when 40 Filipino-coined words and slangs were also added to the Oxford English Dictionary.

Is it also not victory at last, even if in part, for Afrocentric scholars and writers who are foremost critics of the prejudiced nexus between language and power? Several of them have argued vehemently and vowed not to italicise coinages and words from their native languages in their critiques and creative writings. Although they have continued to write in the borrowed languages of French, English and Portuguese. This pseudo victory at least reinforces their stance, showcasing fruits from their activism.

This opening digression was inescapable for me from the dreadful topic of this write-up: Why Yoruba language may become extinct! This is because the Oxford English Dictionary’s action finally forced me to sit down and write this essay that has been pleading for my attention for several months now. Anyway, back to the issue. I could have generalised the topic by saying that several Nigerian languages may become extinct if we don’t make purposeful efforts to halt their adulteration, abuse, disuse and sometimes disdain by their native speakers. Yoruba language in this instance is a euphemism for conquered languages of the world, not just Nigerian or African. It represents languages, whose native speakers are the proletariats in the world order. From prehistoric times to modern days, power relations have always defined human relations; language has remained one of the major instruments of conquest. This is one disorder that the world has not been able to re-order and that may remain with humanity for centuries to come.

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Now, you may say Yoruba language is not one of the languages listed as critically endangered by the United Nations Educational, Scientific, and Cultural Organisation. Then, it means that you are not getting the point. The viewpoint I am expressing here is that the visible or invincible power of a person or a group of persons over others, determines the norm for all and what is acceptable as public interest, including the language that would be internationally used for socio-political and economic interactions, irrespective of interest of the peripheral groups in their mother tongues or any other issue.

Let’s go memory lane for clarity. Are you aware that the English language is not even native to the English people or the earliest inhabitants of the place known as Britain today? This may shock a number of people except scholars grounded in the history of English language. According to historians, the people of modern day Britain spoke what is known as Celtic language, which itself is a mixture of Indo-European languages. English language as known today to Her Majesty – the Queen, her subjects and ourselves – the emancipated natives of her former colonies, was introduced by “Germanic tribes” said to have invaded Britain sometimes in the 5th century. Although a small populace in the United Kingdom still speak Scottish and Irish languages, which are parts of the Celtic languages, English, the language of the invaders, has remained the flagship of the United Kingdom’s languages. The name England itself has its root from the Germanic tribes.

To further drive home the point that power relations determine accepted language and determine “who gets what, when and how”, as attributed to the political scientist, Harold Lasswell, let me also remind political historians that French was the official language of England for almost 300 years, from mid-11th century to mid-14th century. This was also imposed on England by the invading Normans and French army that defeated the then King Harold II of England, and thereafter forced the people to speak French for official interactions for three centuries.

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That Bishop Ajayi Crowther interpreted the English bible into Yoruba language. That J. F. Odunjo’s popular “Iselogunise” Yoruba poem has remained evergreen and known across the globe? That Hubert Ogunde, Moses Olaiya, Idowu Philip, Kola Ogunmola and lot of others promoted Yoruba language through theatre and drama. That even Brazil in faraway South America recognises Yoruba language as one of its official languages. That the Yoruba language has also remained a major language in Nigeria, and it is being used in the Republic du Benin, Togo and even amongst infinitesimal populations of Yoruba people across the globe, may not prevent its extinction!

Recall we are using the Yoruba language as a euphemism for languages not directing world order, and therefore not considered as world power in this discourse. The point is art, literature and public outcries would not save any language from extinction, except its speakers are recognised for their economic power, military prowess, massive scientific innovation, giant strides in Information, Technology and Communication, medical contributions to well-being and wellness of humanity. Such languages may eventually give way.

That is why a German professor, who is very fluent in English language, may come to Nigeria and deliver his speech in German, and except that Nigerians and everyone else follow his/her discourse via the headphone translation devices. And our first class traditional rulers, right on their thrones, would talk to outsiders in English language, rather than also get interpreters to translate their discourse in English, while they speak their native language. That is why akara is known as beans cake amongst non-Yoruba people and not by its Yoruba known name, akara; and pizza is pizza worldwide. That is why our kids would want to learn Spanish, French and in recent times, Mandarin, in addition to English language to increase their access to global opportunities; and be unbothered if they are only able to speak diluted Yoruba language. They may even be less concerned with reading or writing their native language.

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The English language itself has survived and continued on its victory lap over the Chinese Mandarin language spoken by 1.3 billion people, because of its continual adoption and adaptation of words and slangs from other languages that are gaining mileages and may compete with it. The adoption of the Nigerian colloquial and words into the English language is therefore not a victory for the Nigerian languages, but the use of linguistic assimilation method by powerful owners of English language to make it remain the language of today, tomorrow and next tomorrow. Records show that the English language has borrowed from about 250 other languages across the globe.

According to UNESCO, over 2,500 languages are vulnerable or already endangered in various degrees, some definitely, others critically. While the Yoruba and a number of other major languages in the underdeveloped countries may not be under serious threat now, their extinction will still come, even if it takes centuries, unless their owners and speakers start making impact in world affairs collectively as a people to the point that they also become dominant stakeholders in the world affairs, vis-à-vis, the world order.

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