‘Issa Goal’ was the song that introduced him to the mainstream audience, ‘Japa’ was
the one that convinced us that he was anything but a one-hit flash in
the pan, but his arrest by the Economic Financial Crimes Commission
[EFCC] is proving to be Naira Marley’s biggest moment yet.
The Nigerian pop scene has always had its fair share of ‘controversial figures.’ From the likes of Eedris Abdulkareem, Burna Boy, Sauce Kid now Sinzu and Dammy Krane,
the industry has witnessed musicians who have polarized public opinions
and built a career thriving off the outrage that their music and
actions generate.
At
his best, Naira Marley, real name Afeez Fashola is, without doubt, a
talented artist, one whose unique druggy vocal texture and use of
background melodies have made his sound easily acceptable especially
when placed on a Rexxie beat, the man credited with supplying Zlatan with his hit formula.
Just
as his profile began to soar, Marley soon courted trouble with his
vocal defense of internet fraud popularly known as ‘Yahoo Yahoo.’ From
comparing the hideous act to the Slave-trade era to calling out fellow
artists who as much as failed to cast a glance in his direction, his
reputation began to attract unnecessary attention.
All this ultimately cumulated to the release of the infamous record, ‘Am I A Yahoo Boy’ with
Zlatan and subsequently his much-publicized arrest by the EFCC for
charges relating to credit card scams and his arraignment on Monday, May
20, 2019.
The
‘Public trial’ is one that has now further aided his inglorious but
celebratory street cred among his fans, popularly known as the
‘Marlians,’ who are as quick to slap the tag ‘Legend or Icon’ to his
name as they are to attack anyone who takes a stand different from
theirs.
Mixing
street elements and slangs, profane spewing invective, and a
confrontational public persona to earn a larger audience is one tactic
that almost always works and that is why the likes of Olamide, Small
Doctor enjoy a strong cult following, then add a sense of victimization
to all of this and you find a Naira Marley, being viewed through the
trappings of everything we believe a society like ours has shaped us to
become.
In
the weeks following his ordeal and eventual release on bail, Marley and
his team fully capitalized on the unintended benefits that came
courtesy of the controversy with the release of as much as three new
singles.
From songs like ‘Why’ to ‘Opotoyi,’ a song which further drives home the message that ‘sex and vulgarity sell’, but it is the latest titled ‘Soapy,’ that is yet again generating heated discuss online.
What is he up to this time? ‘Soapy’ is
a song that references his time in EFCC custody, sharing his experience
and shedding not too bright lights on life on the ‘inside.’
‘A ti lo, a ti de, e ni ori yo, o di le…’ [We have gone and returned, those who survive are headed home]
But
while the song itself is a similar offering in bounce and free-spirited
rhythm to what he has delivered in recent past, it comes with a
particular dance that has elicited further scrutiny of the song’s
cryptic intention.
Popular
songs that arrive with a dance move like ‘Zanku’ or ‘Shaku Shaku’ have
become staples for mainstream acceptance at any lit gathering and can be
heard blasting through the Island clubs on a Friday night and in the
now viral video, Marley is seen dancing in an explicit manner,
glorifying the depiction of masturbation- an act that is presumed common
in an all-male prison.
Masturbation
in itself is not a crime, and it is not my place to debate its
appropriateness [Or not] but there is a reason why it holds severe
sanctions in many countries if done publicly. What ‘Soapy’ has succeeded
in doing is providing a conducive context for an open showcase as seen
in further fan videos shared online of adult men doing this repulsive
dance move in public places and even harassing innocent passers-by.
Naira’s
blunt approach to life and his beliefs mirrors everything it takes to
survive on the streets and while he has overtime used his fair share of
‘shock and offend’ attributes, the continuous harsh depiction and the
open support of vices like fraud, drugs, sexual fantasies and now
masturbation are becoming problematic.
There
is the dismissive argument pushed by his supporters who are quick to
remind you that ‘’music mirrors the society’’, a plausible reaction,
with many also pointing out perceived selective hypocrisy mentioning
songs like Patapaa’s ‘One Corner’ in drawing a timeline to how far back our values have gone to the dogs.
Social
media discourse has seen people share different tolerance levels on the
song/dance. I am quite careful not to place a gag of morality or
censorship on the creativity of an artist because I understand that
limiting what’s acceptable in music and art undoubtedly threatens the
artist’s power to create, moreso, if the society he represents is one
that has failed its people, constantly suppressing and supporting the
breakdown of order, allowing these acts to thrive.
But
there is just enough space that allows for inappropriate content and we
would be sorely lacking in imagination if, in 2019, we conclude that
Naira Marley champions any course other than his own. Also, there
eventually comes a point when we must now begin to ask ourselves, if the
best decision is to then allow the society to continue in its state of
‘rot’ and artists reinforce the stereotype that we are a people filled
with criminals on one side and sexually unrestrained hormones on the
other side or begin to determine and shape the type of narratives that
we want for ourselves and the future.
Unlike the 80s when rap group, Public Enemy was
seen as an agent for effecting social change and unity with their
message and consciousness against police brutality and other social
injustice, Naira Marley is fast becoming a byword for bothersome,
silliness and a nihilistic menace, emblematic of everything wrong with
any sensible society.
As
for the listeners who may have been nauseated by the dance the way I
have been, the Nigerian music industry mid-year report shows that it’s
presently enjoying a general climate of positive music, if only you can
look beyond these noisemakers; the likes of Rema, Fireboy, Oxlade and
the ‘Alte’ band offering music with diversity and vibes. If Marley’s
creativity is only driven by his phallic urges, then it is left to the
audience to filter the music they want to hear, let’s not be distracted.
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