AGED RIVALRY IN YORUBA MUSIC INDUSTRY: THE CATALYST FOR GROWTH AND PROGRESS

To fully understand the constant kerfuffle between Wizkid and Davido, one needs to examine the historical trajectory of the music industry. People of Yoruba descent primarily dominate the music industry in Nigeria and Africa in general; their originality, creativity and ability to infuse richness of their language into the lyrics and genres to form a mellifluous melody have catapulted their artists into the global mainstream. However, I have come to realize that rivalry in the industry has become a major ingredient that served as a catalyst to innovation and improvement.

A cursory glance into the industry's antecedents exposes us to this reality. Undoubtedly, various cultural genres and folklores, such as the Ijala by the Hunters and Iremoje for the deceased hunter, gave birth to Yoruba music. The Masquerade adherents are known for Gelede; Ewi, Ekun Iyawo, Rara, Dakuada, and other, which were accompanied by the sonorous rhythm of Bata, Dundun, Gangan, Omele, and other instruments contributed to the promulgation. Indeed, one could liken incantations (Ofo) to a precursor of Rap.

In the 1960s and 1970s, two prominent Yoruba word masters, Haruna Ishola and Ayinla Omowura, dominated the industry with their Music, and every sociable Yoruba man supported either of them. During the peak of their rivalry, whenever one band released a track criticizing the other, people would always anticipate a counterattack from the opposing side. These two influential men contributed enormously to the formative stage of Yoruba music.

Juju Music became the sore of the eyes in the late 70s and 80s, with Ebenezer Obey and Kings Sunny Ade playing a dominant role as the rivals of the epoch. In this era, social life has greatly improved, and the two music juggernauts have become the maestros of the time. The two titans created a sharp divide in society, with Obey's philosophical lyrics enhancing the industry and Sunny Ade's energetic, danceable guitars driving the scene. Unlike Omowura and Ishola, who have taken a space in the realm of our ancestors, Obey and Sunny Ase are still here with us.

During the same era, the Were Music and Ori Ajisari were also in vogue, and Ayinde Barrister, a prominent figure, was credited with transforming into Fuji. With the emergence of FUJI, Barrister faced competition from Ayinla Kolington. From the late 80s through the 1990s, the duo used their creativity and extensive knowledge of Yoruba language to beautify their lyrics while they were at loggerhead. Fuji became more successful, and many other artists entered the limelight, leading to another generation of rivalry.

The rivalry between King Saheed Osupa and Otunba Alabi Pasuma adorned Fuji in the 2000s. I was mature enough to choose a side during this period, and I aligned myself with Osupa. This era saw a more pronounced rivalry between Osupa and Pasuma. Saheed was more virulent in his confrontation with Pasuma, as he often mentioned his name in his lyrics. The duo rose to prominence, giving Fuji the recognition it deserved.

In the 2010s, hip-hop had already become a household name. Wizkid made waves with his Super Star album, becoming the talk of the town. However, in a short span of time, Omo Baba Olowo, Davido, who had a wealthier background, emerged as the rivals he needed in his career. The competition between the two has spread from the African shores to the global arena. In this era of the internet, hardly a month goes by without a media frenzy between FC and the 30BG. You see something similar between Asake and Seyi Vibes too.

Although there are hardly record of any direct physical attacks between the rivalry groups, the fact that a dichotomy exists has always fueled innovation and progress in the music industry. The next generation would come with another set of rivals; competition is a vital component of innovation and a catalyst for development, especially when they are healthy. People with notable rivals have become more successful and innovative than a lone voice.

Samson Gbemiga Ogunwoye (OGS),
London, United Kingdom,
ogunsoyesamson@gmail.com