Fela‘ youngest son’ third album fronting the legendary Egypt 80 further demonstrates his desire to modernise the afrobeat sound without diluting its power. It begins with pure afrobeat rage; a breathless high tempo frenetic burst called IMF. In Fela‘, Seun’ or even brother Femi‘ hands Afrobeat has rarely been a weapon of subtlety, but Seun is more explicit than ever, where you get the sense that in his eyes being cute and clever is no longer palatable. “You Bring Pain/ You Bring Tears/ You Bring Suffering to My People†he offers referring to the International Monetary Fund, an organisation that for this song he has renamed International Mother Fuckers. And it’s difficult to find much wrong with his argument when the institution in question is one of the major mechanisms used by the most powerful countries with a neoliberal agenda to economically enslave the less fortunate – most of whom just happen to be in Africa.
He pulls no punches, casting an eye over his native Nigeria, though also Africa as a whole and recognising corruption, corporate manipulation and the perception of Africans and Africa at home and abroad. It’s easy to become bogged down in the politics, his father did towards the end of his career, but Seun’ message is ultimately one of hope. He may be caustic or satirical, but it’s with an eye to the future.
Nowhere is this more apparent on African Airways, a metaphor for Africa as a whole, where you get first class treatment, an English-speaking pilot and no idea where you’re going.
Produced by Kuti and US Grammy Award winning jazz pianist and composer Robert Glasper, musically you get the sense that Kuti is keen to extend the possibilities of Afrobeat, with the music entering jazzier realms, though they’re also really experimenting with the call and response female backing vocals – attempting to use them in less conventional ways than the past. There is also a totally unexpected slab of high life party music with Kuti singing in Yoruba, espousing people to rise above their material possessions. Yet the greatest departure is the presence of guest from the hip hop world, with Brooklyn rapper, activist and author M1 from Dead Prez taking the mic on IMF, and Brooklyn based Ghanaian rapper Blitz The Ambassador tearing it up on African Smoke offering a searing opening that also doubles as a warning. There are real links between afrobeat and hip hop, both in terms of being music by the people for the people, but also in terms of some of the more political inclinations that hip hop possessed in its infancy, though admittedly hip hop has been polluted by corporate money and mainstream success since.
Here, used in relative moderation it really works, packing a punch, almost synthesizing the anger and frustration inherent in the music and verbalising it into spitting conscious urban vitriol. Glasper himself contributes keys to many of the tracks and French vibraphonist David Neerman, no stranger to collaborating with African musicians also lends a hand to IMF, and possibly Kuti’ weakest track here the slowed down swinging afrobeat ballad Black Woman, which is possibly his attempt to tackle some of the less progressive elements of his father’ Lady. German-Nigerian singer Nneka’ contribution to Black Woman though is incredible, her voice the kind that makes the hair stand up on the back of your neck.
Ultimately this album exists alongside Kuti’ previous effort, the Brian Eno produced From Africa With Fury: Rise, which saw him developing his sound, reflecting his desire to expand afrobeat in 2014 whilst still remaining true to its legacy and ideals. Kuti’ journey is fascinating, with each successive album seeing him leave behind his father and further forge his own identity. It may have taken a long time, but as the title of this album suggests he’ finally there.
Seun Kuti and Egypt 80 are currently touring Australia
Wednesday 16 April – Melbourne Recital Centre
Thursday 17th – 21st April – Bluesfest, Byron Bay
Sunday 20th April – Metro Theatre, Sydney
