Superficial Burna Boy: Conceptualising The Fela Complex
Photo: Spaceship Entertainment
The self-proclaimed “African Giant” also known as Burna Boy rose to fame after the success of his debut album L.I.F.E. Since then, he has consistently risen as one of the most prominent African artists globally. Notably, he made history as the first international Afrobeats artist to secure the No. 1 spot on the official weekly UK album chart. His album "Twice as Tall" also garnered a Grammy win in 2021, clinching the 'Best Global Album' category. These achievements have undeniably played a monumental role in the global expansion of Afrobeats and solidifying Burna Boy's influence internationally.
Over the course of his career, Burna boy has meticulously crafted his brand and music to encapsulate Pan-Africanism, drawing inspiration from the pioneer of afrobeats, Fela Kuti, who is widely acknowledged as the most politically and socially conscious African artist to date. In doing so, Burna has succeeded in portraying to many that his music transcends being “just a great time”, but that his craft is also a source of activism against the corruption that plagues Nigerian society. Notably, his 2019 album "African Giant" was instrumental in crafting this brand image. In this album, Burna Boy infuses socio-political themes into his music, shedding light on the corruption and injustice in his homeland. In his track "Another Story," Burna sheds light on Nigeria's history, spanning from the scramble for Africa to the nation's amalgamation and subsequent colonial rule under Britain. This song serves as both a history lesson and commentary on the enduring impact of colonialism. The accompanying music video enhances this message, depicting Nigerians with black blindfolds labelled with words such as “corruption”, “greed” and "violence," underscoring the ongoing challenges since the end of British rule on 1 October 1960. Examining Burna Boy's discography reveals several instances that mirror Fela Kuti's work, using music as a vehicle for commentary on corruption. Consequently, Burna Boy seemingly emerges as the contemporary voice addressing Nigeria's social and political issues, leading him to be described by some as "the modern-day Fela."
In an article by the Rolling Stone, Burna Boy is acclaimed for being an “influential voice, not just because he releases African hits for the world to hear, but through the conversations he sparks through his work and his interviews” and that his “preoccupation is with the truth and illuminating the ways in which our understanding has been warped by Western hegemony.” However, such conclusion regarding Burna Boy and his craft is much easier to reach from afar. A more nuanced examination of Burna boy and his professed values tends to reveal that his pseudo-Fela Kuti persona is predominantly surface level. For the most part, it has arguably been endorsed as a marketing strategy, simply serving a brand image rather than genuinely reflecting his beliefs. This raises doubts on the sincerity of the criticisms that he projects in his music, potentially reducing them to mere virtue signalling. In reality, Burna Boys music and values pretty much end once you switch off your Spotify or Apple music. Beyond the façade, Burna Boy is the very individual who his music criticises. Paradoxically, he is a great example of a political and socially unconscious Nigerian with little to no regard of virtue.
To understand Burna’s boy Afrocentric image, it is important to understand who Fela Anikulapo-Kuti was. Fela Kuti born 15 October 1938, in Abeokuta, Nigeria. Kuti was the son of feminist and activist Funmilayo Ransome-Kuti. He carved his legacy as both a musical artist and a prominent political activist, pioneering the afrobeat sound.
After his 1969 tour of the United States, Fela was influenced by the politics of black militants such as Malcolm X and the Black Panthers. This period marked a significant turning point in Fela's career, as he began creating highly politicised music targeting the Nigerian government, which at the time was under military rule. Fela's music propelled him to become one of Nigeria’s most culturally significant yet controversial figures. He was an outspoken radical who openly defied the cultural norms of his time. He strongly opposed Western influence, expressing strong criticism toward it, and instead embraced traditional African values, such as polygamy and indigenous spirituality.
In Fela's track "Shuffering and Smiling," he satirises the pervasive influence of religion on the nation, spotlighting the hypocrisy of both Christian and Muslim leaders who flourish at the expense of their congregation; conditioning them to endure worldly suffering in the hope of heavenly rewards, as encapsulated in the lyric "Suffer, suffer for world, Enjoy for Heaven." However, he shows little compassion for those entrenched in this belief system, as he bluntly states, "na your fault be that." The song further delves into everyday Nigerian struggles, including police brutality, lack of basic amenities, and the enduring hardships. Fela's "Coffin for Head of State" echoes the profound impact of deceptive religious and political leadership. These recurrent themes remain central in his musical repertoire, offering a poignant reflection of Nigeria's socio-political landscape during his era, and regrettably, persisting with alarming relevance even 45 years later.
Fela's unrelenting critique of Nigeria's corrupt governance positioned him as a national rebel, earning intense disdain from the ruling leaders of the time. Consequently, the government retaliated with force, orchestrating violent raids on his club and residence. In one particular violent military raid which was believed to be ordered by the head of state of the time, General Olusegun Obasanjo, Fela’s mother was thrown from a first floor window by an “unknown soldier”, which led to her death not long after. This incident, coupled with a nationwide ban on Fela's music, enforced through censorship on radio stations, reflected the authorities' harsh crackdown on dissent. In his seminal track "Sorrow, Tears and Blood," Fela dives into the daily injustices endured by ordinary Nigerians at the hands of their rulers, depicting a society where citizens, paralysed by fear, passively accept this oppressive system, allowing anarchy to become a distressingly routine trademark of the state. These sentiments are echoed in Burna Boy's "Collateral Damage," where he emphasises the prevailing tyranny and the pervasive culture of fear within the state, urging Nigerians to "fight for their rights."
Burna Boy's musical prophetism, however, has revealed itself for the most part, as a marketing strategy for commercial success on the global music scene. While one can appreciate his music, it is crucial to distinguish between genuine values and the construction of a mere brand image. Burna Boy falls short of being Fela's prodigy because his inherited emulation of Fela's political and social consciousness seems confined to the studio; this distinction is important.
A good example of this can be seen in the context of the 2023 Nigeria presidential elections, which was arguably one of the biggest elections of recent time, with certain presidential candidates emerging as highly contentious figures, contributing to a very tense socio-political atmosphere. During this period, some voiced their discontent with Burna Boy's perceived silence on the election. In response to the criticism, Burna Boy defended his stance, asserting, "I dunno why it's such a big deal to some Nigerians that I've not been vocal about the elections. Personally, I don't have a candidate that I believe in. I've never supported any political party or candidate in my life because I don't want to make you vote and then blame me when the person fucks up as usual. That being said, I hope all votes count and the best man wins."
Although it is well within the rights of any individual to adopt a politically neutral stance, Burna Boy's blasé dismissal in this regard is striking, considering that he has portrayed himself as a socially and politically aware Nigerian. While he is fully entitled to express the sentiments mentioned above, one might naturally expect, given his socio-political awareness, that he would actively endorse and encourage political participation. Although, one may question why a similar expectation doesn't exist for other prominent Nigerian musicians like Davido and Wizkid. The answer is straightforward: they have never positioned themselves as politically conscious through their music.
In contrast, for Fela, the infusion of political and social consciousness into his music was not a calculated effort but an intrinsic part of his way of life. This stark contrast accentuates the depth of Fela's commitment to these ideals compared to Burna Boy's more superficial approach. Fela's music was a natural outgrowth of his lived experiences and convictions, whereas Burna Boy strategically harnessed the concepts of Pan-Africanism and social consciousness as tools to enhance the marketability of his records, which he did successfully, with his breakthrough on the global stage with the release of his album "African Giant." But what we start to see in the cracks is how individuals can attain global success by capitalising on their association with black culture, even if they lack real connection to the issues that they speak on or even care to actively change.
In November 2023, a video surfaced online showing Burna Boy driving against the flow of traffic on a one-way road with the assistance of a police patrol. This brings to attention the broader issue of lawlessness, particularly amongst the wealthy. In the Nigerian societal context, there exists a troubling association between fame, wealth, and authority. This means that individuals, even when acting arbitrarily or unjustly, often find their wealth and status acting as a shield against accountability and reprimand. Ironically, Burna Boy seems to be a complacent beneficiary of this very corrosive mindset, which contributes to the erosion of societal values - an issue that he criticised in his music. What's noteworthy is that the link between wealth and authority (coupled with stan culture) prompts people to defend these behaviours, thereby enabling the cycle. This aligns with Fela's remarks about the disorder in the nation, where he essentially attributed it to individual passiveness stating, “na your fault be that.”
During a 2020 interview with the British culture magazine NME, Burna Boy voiced his discontent with the educational curriculum in Nigeria, stating, "The schools in Nigeria would rather teach you another man’s history than your own.” While his concerns about the curriculum are valid, there is no indication that Burna Boy has personally undergone his own process of decolonisation. In a 2023 interview with Zane Lowe, Burna Boy stirred controversy by asserting, “Most of Nigerian music — Afrobeats, that’s what people like to call it — is mostly about nothing. Literally nothing. There’s no substance to it. Nobody’s talking about anything. It’s just a great time.” The statement becomes even stranger and hypocritical if you consider one of his biggest songs of summer 2022 “Last, Last”, where Burna Boy states that he needs “igbo and shayo”. Ultimately, the statement, was an ill-conceived attempt at setting himself apart from his contemporaries. In doing so, he pretentiously disparages his fellow African musicians, which appears to be a self-righteous effort to bolster what seems to be a very fragile ego.
It would be unfair to label Burna boy as a political activist considering that he has stated that he is not political. However, this does not prevent us from examining the contradictions that arise and evaluating the way he has capitalised on societal issues for personal success without a genuine commitment to the causes he addresses. While Burna Boy is undeniably a talented artist with a compelling discography, one thing remains true: he is no Fela Kuti – both in music and values. In the interplay of artistry and activism, Burna Boy may leave an impression on one front, but the echoes of Fela Kuti’s unwavering dedication to social and political causes makes his work timeless and invaluable.
