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While the dominant theme of Street music hasn’t really changed, there’s a growing presence of melancholy and emotions that is increasing its utility.
By nature, the sonic constituents of Street Music offer it as an art that is meant to entertain, just like Nigerian mainstream Pop records of Afropop if you like. Even when the songs explore the subject of societal injustice and pain like Timaya's 'True Story' or African China's 'Mr President' there's hardly any palpable melancholy in the voice or melody of the artist. This is in large part because whatever sobering effects one might expect from Nigerian street music is often lost in the percussions and swaggering delivery.
As way back as 2008, late Street Hop star and indigenous rapper Da Grin explored the sobering consciousness of his mortality in ‘If I Die’, a record that blew up considerably following his untimely passing.
The song’s lyrics clearly communicate Da Grin’s contemplation of his own death but it’s the palpable emotions in the melodies and delivery that evoke the pathos required to emotionally connect with it.
Street Music in the 2000s, 2010s, and even currently are crafted to offer party-starting gratification. A look into the discography of Neo-Fuji pioneer 9ice, Lord of Ajasa, down to Street music stars like Terry G, Small Doctor, Q Dot, Slim Case, Idowest, Zlatan, and Naira Marley captures this dominant groovy nature of Street music.
However, Street music is currently seeing an increasing presence of melancholy being deployed by younger artists sharing the struggles of everyday life in the inner cities.
Take for example 9ice’s hit single ‘Living Things’ on which he shares his desire to be rich. The sonics were structured to offer a groovy effect. When compared with Rybeena’s ‘ID.ME’ or TI Blaze’s ‘Try’ which are two songs from younger artists that talk about the desire for material wealth, the approach takes on a more reflective and somber note. A few years ago, these records would have packed lesser reflective properties and favoured a more celebratory and party-starting mood.
This notable manifestation of the growing emotions and reflections in Street music can be found in the brand of music consumers have tagged "Afro Adura".
In "Afro Adura" which means "Afro Prayer" (not to be confused with Gospel music), the common denominator is the earnest supplication that forms the dominant theme; The outpouring of the soul in search of comfort from the harsh realities of life in a difficult country. And although these supplications aren't particularly different from what has previously constituted a part of Street Music, there's a palpable infusion of emotions and melancholy that alters its sound and utility.
In fact, the reason listeners ascribe a tag like "Afro Adura" to the songs from Street music acts is that these songs carry the emotions and melancholy of the artist as opposed to parking party-starting effects.
From Ayox’s search for relief in ‘Humble Cry’ to Mohbad’s Street Gospel in ‘Blessings’ or Seyi Vibez’s message of hope in ‘Dejavu’ and Zinoleesky’s reflection on his journey in ‘Many Things’, these Street songs carry mid-tempo arrangements that allow the artists' emotions to rise to the surface and connect with listeners.
What is responsible for the growing presence of emotions in Street Music
The influences of this contemporary Street music have been both social and musical.
The socio-economic realities shape the everyday lives of these artists who in turn document it through their music. Documenting their reality demands that these Street Prophets engage in reflections and exploration of their emotions and struggles which continue to intensify in the face of growing socio-economic difficulties.
Also, the dominant themes in Emo rap and Trap also influence this generation of Street artists. The struggles to make it out of the hood, finding solace in psychedelics, and even the subject of fraud are things Street acts find in common with these rappers with whom they share common inner city realities.
In terms of musical influences, the current crop of Street acts are influenced by contemporary Western genres like Swing, Emo rap, and Mumble rap which also have some mid-tempo arrangements. These mainstream influences have led Street acts to pace down Street sounds like Konto. The likes of Balloranking, Bahd Man Niko, Otega, TI Blaze, Damo K are artists who offer a modern take on the Konto sound.
Emo rappers like Juice WRLD, Lil Uzi Vert, XXXTentacion, and Trippie Redd who popularize the “sad boy” type of music are popular with Street artists and young Hip Hop consumers in inner cities that form the listening demographic for Street music.
When you listen to a song like TI Blaze’s ‘Sometimes’ which touches on depression, personal hardship, and a reliance on psychedelics for relief, it sounds like something Juice WRLD or XXXTentacion would make.
It explains why Lil Durk is popular in Nigeria and why Kodak Black commented on Mohbad's passing after the fans they both shared mentioned it during his Instagram live section. It also explains why an eccentric rapper like Trippie Redd is drawn to Portable’s music and personality.
For decades, Street music has provided a rich view into the diversity that abounds in Nigerian music. This is why it could become Nigeria’s music foremost genre