2019 marked a significant period of musical evolution in Nigeria. Building upon the groundwork laid by their predecessors, Nigerian artists propelled their craft to new heights. Amidst this vibrant landscape, Naira Marley emerged as a notable figure. His ascent, widespread acceptance, and sustained prominence within the Nigerian music scene underscore his status as more than just an artist; he embodies an icon of what many consider a new musical era.
Azeez Fashola, widely recognized as Naira Marley, left an indelible mark in 2019. After his breakthrough with "Issa Goal," featuring Olamide and Lil Kesh, Naira Marley consistently delivered hit after hit. His sound is characterized by its ability to resonate as both a street anthem and a club banger. This unique blend is achieved through witty, easily memorable lyrics combined with upbeat rhythms, largely crafted by Rexxie. His lyrics exhibit depth, incorporating local language to convey significant ideas in digestible segments, and his delivery consistently reflects contextual meanings that resonate with everyday Nigerians. His reception has been polarizing, with ardent supporters embracing his entire catalog and detractors remaining critical regardless of content. This article aims to explore his rise, relevance, and influence on pop culture, while also demystifying his lyrical depth and public image.
Naira Marley performing live.
The Rise to Prominence
Naira Marley first gained significant attention in the Nigerian music scene with the release of his singles "Japa" and "Issa Goal" (featuring Olamide and Lil Kesh) in 2018. "Issa Goal" quickly became Nigeria's anthem for the 2018 World Cup, thanks to its football-centric theme, upbeat tempo, and slang-filled lyrics that captured the essence of Lagos street culture during the mandatory "environmental sanitation" Saturdays.
The song's popularity led to a remix featuring Slimcase, Olamide, Lil Kesh, Falz, and Simi, the latter of whom he would later have an online disagreement with. In "Japa", Naira Marley depicts life on the run, expressing his defiance against capitalist structures ("owo toll gate yen, mi o ni le san" - I won't pay the toll gate fee), while also demonstrating legal awareness with the line "I'm on bail oh, sorry mi o ni le lo" (I'm on bail, I can't go).
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Lyrical Depth and Philosophical Undertones
His defiant chant, "if you want to fire me, fire me make I jabo! jabo!" echoes the spirit of Fela Kuti's work, showcasing defiance and a willingness to stand by one's principles, even at the cost of death.
Consider the following lines:
“Ko s’ogun aiku, iku lo gara ju,Were to s’ogun aiku fun, to ba ku gan, bawo lo se fe gba refund?”
In these lines, Naira Marley emphasizes the transient nature of human existence, the finality of death, and the futility of seeking immortality. This philosophical perspective on death aligns with existentialist thinkers like Martin Heidegger and Karl Jaspers. He is drawing attention to the transient and ephemeral nature of human existence, the finality of death and the futility of any attempt at immortality. Within the context of Naira Marley’s audience - a society where supernatural beliefs are a norm - it is very important that dominant voices in music use their platform to deconstruct these toxic beliefs.
Naira Marley - My Side Of The Story
Controversies and Social Commentary
Naira Marley's "Opotoyi" sparked varied reactions. Some interpreted the song, particularly its chorus, as a celebration of the curvaceous African body, while others viewed it as morally reprehensible. While some see Naira Marley as sexist and misogynist, others argue that he is only a product of a society that commodifies women. While these two spectra of arguments conflict, some are of the idea that Naira Marley is rather a progressive artist who adds decibels to the voices of women who choose to be expressive with their bodies. Are these choices defined by financial incentives or are they informed choices driven by the ambitions of these women? These are the questions that are raised by these conversations.
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Soon after these hits, Naira Marley was caught in a web of online controversies that involved him making statements justifying online fraud, asking Nigerians to be “grateful to yahoo boys” cos “they’re the reason money flows in the economy.” Around this period, Naira Marley released “Am I A Yahoo Boy”. The title of the song is depictive of a rhetorical question posed at his doubters and accusers. Amidst a raving beat that could get anyone to jump into the highlife mood, Naira Marley questions the stereotypes ingrained in Nigerians who are quick to guess that young people who look comfortable can only afford that lifestyle by being involved in cybercrime.
He goes on to draw the attention of his listeners to actual criminal structures that have for generations enjoyed god-like and state-sponsored immunity, devoid of criticism from the people. It is noteworthy that the criminals he pointed out (bloggers, pastors, imams and the government) have been getting a lot of heat lately as fresh scandals involving them keep getting exposed. These four institutions have proven to be as controversial as it gets. Religious structures have for a long time been criticised in Nigeria for being lackadaisical about the welfare of their adherents, while the top leadership of these structures enjoy in affluence at the expense of the poor congregate. And the same can be said about the government in Nigeria as well. While popular belief attests to the notoriety of the government with regards to embezzlement of funds and chronic mismanagement of funds, Naira Marley amplifies this thought by duly referencing it in his art. Nigerian artistes have always been criticised for not always using their platforms to speak up about crucial social issues, but Lord Marley to the rescue as he ensures that people never forget the real struggles even while showing their legwork.
The "Soapy" Saga
On May 10, 2019, Naira Marley was arrested by the Economic and Financial Crimes Commission (EFCC) and faced 11 counts of Conspiracy, Possession of Counterfeit Credit Cards, and Online Fraud. After his release on bail, "Soapy" was released. In less that 24 hours, “Soapy” reached number one on the Top 100 Nigeria on Apple Music and sat there for several weeks. For everyone who missed the point of “Soapy”, Mr Naira was simply drawing the attention of people to the deplorable living conditions of the Nigerian Prisons, the rotten system who sends only disadvantaged people to these prisons, and the importance of onanism in a system that doesn’t give you the basic right that is a conjugal visit.
The controversial Soapy Dance.
The song's title, a slang term for masturbation, sparked immediate controversy in Nigeria's deeply religious society. For everyone who missed the point of “Soapy”, Mr Naira was simply drawing the attention of people to the deplorable living conditions of the Nigerian Prisons, the rotten system who sends only disadvantaged people to these prisons, and the importance of onanism in a system that doesn’t give you the basic right that is a conjugal visit.
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Influence and the "Marlian" Movement
Naira Marley's influence is undeniable, and he has a cult-like following of young people across social strata who refer to themselves as "Marlians". Apart from his lyrics being used as captions, they also serve as social justice campaign chants too. This system itself has proven to be hypocritical and failed in the face of modern society build-up. We can argue that this gerontocracy has failed and has stolen the franchise and future of generations to come. As a result of this failure, the younger generation has developed a reaction - may be justified or not - and that reaction has become controversial today. We see Naira Marley’s artistry as a microcosm of a bigger reaction to what is currently obtainable and also to the problematic history of our society.
In order to fully understand Naira Marley’s artistry, one has to align with the spirit of time and identify the crucial paradigm shift in culture that is happening right now. For far too long, concepts such as repute, respect, uprightness and all other subjective values have always been conditioned and defined by a cultural and societal system that has been in the hands of a dictatorial gerontocracy. We see these virtues as they have been defined and it is almost impossible to question those ideas without been tagged a rebel.
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