Zazoo and A Lyricist’s Language Hurdle

Yinka Olatunbosun

After the likes of Da Grin, Ruggedman, Mode 9, Elajoe, Naeto C, Illbliss, MI, Olamide, Reminisce and a handful of other rappers left the centre-stage, there was a “minute of silence” on lyricism in Nigerian popular music. Beatmakers were feasting on their art and possibly, good pay while increasing the global popularity for Afrobeats. Lyricism has been the style of artists who are poetic and this is an uncommon gift.

Majority of Nigeria’s fastest-selling music of the moment have poor, incongruent lyrics. It makes more sense to dance to these songs than to print out the lyrics and read. Yet, many of these artists are quick to boast during interviews about their spontaneity in creating the songs without writing on a sheet of paper. R.Kelly is a songwriter but he can’t read or write. Songwriting is not just a mechanical effort that involves the pen and paper; it can just as well be an oral composition.

That settled, let’s take a curious look at this sensational lyricist, Portable. Known for his hit track featuring Olamide and Poco Lee, “Zazoo Zeh,” Portable is trailing the paths of Olamide, 9ice and Phyno in using his indigenous language to sell his lyrics. A street dancer cum singer, Portable’s popularity is rising at the same level as the criticism against his use of Yoruba or so it seems. When it comes to sports and music, Nigerians loathe anything that can foist disunity. Ask Shatta Wale. So, when the Zazoo fever hit the Lagos audience during the Livespot X Festival last December, the protest moved from passing comments to a near online outrage.

Non-Yoruba speakers knew there was an insane energy with the song but the fact that it is from a Nigerian artist and they still couldn’t fathom the words was a turn-off. It’s quite ironic that the same Nigerians who ‘vibed’ to Master KG’s “Jerusalema” and “Ameno (Dorime)” by ERA would be vexed by Portable’s Zazoo. There is only one explanation for it: Portable is a humorous character on and off stage. He calls Zazoo “a movement” or “a moving train.” Certainly, nobody wants to get left behind. So, it goes without saying that when a non-Yoruba speaker is excluded from understanding the lyrics, and the joke is lost on him – his response is anger – a mild one.

But the criticism against Zazoo zeh is not an isolated case. Afrobeats as a genre faces similar criticism in the global market. The body of works in the genre, just like Zazoo zeh is loaded with slangs, innuendos and indigenous languages like Yoruba and pidgin English. Language has never been a barrier to mainstream popularity in the global market. Enrique Iglesias’ Bailamos was sung in Spanish and English, that is Spanglish, but it hit number one spot on the Billboard hot 100. Luis Fonsi’s Despacito secured three Grammy nominations with pure Spanish lyrics and even held the number one spot on the Billboard Hot 100, a feat that was reached only by Los del Rio’s ‘Macarena.’ Many music fans on comment sections across social media platforms often claim to have discovered Afrobeats at their local clubs in Europe and even North America.

In Africa, which is the hotbed of Afrofusion, the warm reception for Nigeria’s brand of Afrobeats is phenomenal. Irrespective of the language in which it is rendered, the music sparks chain reactions in clubs and performance venues. So, why should the Abeokuta-born Portable be apologetic for creating his music in his primary language of expression? That is his voice.

What’s more intriguing than to spark curiosity with a language or expression that is in another language? Look at the example of Fireboy DML in the hit song ‘Peru.’ Before the grammy-winning singer-songwriter, Ed Sheeran jumped on the remix in English language, Peru was already attracting questions and chuckles. Countless Peruvians were asking, “What is he singing about Peru? Is he singing about us?” and similar questions. Peru was originally produced in English, Pidgin-English and Yoruba which is why many global music fans are curious to hear the rest of the lyrics.

The necessity of activating Yoruba hubs in all countries where Nigeria has cultural presence is fast approaching an emergency status. There is a growing audience for Afrobeats from Nigeria and global music fans are no longer interested in just dancing to the beats; they want to be immersed in these songs that Nigerians in diaspora have effectively turned into addictive street anthems.