What’s with Nigerian artists and the excessive harshness of their lyrics— this is a direct sub to the male artists by the way, with how their words imply suggestive condescending tone towards the female gender. While this does not necessarily deter a larger fragment of their listenership, it definitely places a thought of question in the minds of those who are as invested in the content of what they bounce their bodies to.
It was just recently that Nigerian female Twitter feminists came for Odumodublvck, for his suggestive derogatory lyrics in Shallipopi’s ‘Cast’, the lyrics in almost very clear terms implying the business between a woman and a man, should be and is very transactional. And though while we understand the grievances laid at the alter of the Abuja rapper, there is every need to scrutinize heavily the lyrical contents of these Nigerian artists, and judge them as much as judgement is issued out on Odumodublvck.
Note, that this isn’t a defense to the artist, or an explanation for his actions, but an attempt to understand and shed light on the concerning issue of how females are often portrayed from the POVs of these male Nigerian artists.
It is only in the Nigerian music scene, that you will see a Nigerian artist sing of love, and yet, sprinkle bothering lyrics, which to the best of their knowledge, is puppy-love romance. If you listen closely to Iyanya’s One Side, the artist while explaining his desire for his woman, stated his reason for wanting to be with only her— he said, “E better make I de with you cos these olosho don dey cost”
At first instance, it doesn’t hit on how objectifying the words are targeted at the female gender, and how it appears that the option to be with a woman, is born out of the need to cut down on cost; but from the angle of the need to shin Odumodublvck, this writer implores that every happening artist at this point, should be scrutinized, because there’s a level of derogation in their every lyrics.
This cup will not pass Odumodublvck by, the artist who impulsively makes music that somehow gets on the nerves of every raving female out there on the internet. What name hasn’t the artist been labeled? Including the almighty misogynist, following his reluctant acknowledgment of the term ‘consent’ in his recent album, Eziokwu.
Although, the artist seems to have a very tough skin, given how under numerous instances, has refused to crack for the X Nigerian community.
Gone are the days, where artists’ lyrics were from the depth of their soul, and had a certain poetic connection that even without a rhythm, can be as alluring without a beat. The old days, where artists made love songs, and went all out on it, not holding back, or beating cynical comments within the lyrics that impulsively deduce derogation.
“Come here wetin dey worry you/bring body make I rock am/I know you senior me/I get money pass your papa”, is Rema’s own way of displaying how he adores the sculpt of his woman, and yet, condescendingly questions her typical swagger as a lady. In his own words and lyrics, there need not be for her to form, after all, he has money, in huge sums, best put.
Whatever happened to roses and flowers that were laced within lyrics? Have Nigerian artists missed the guide book towards hatching a perfect music that does not need to belittle the opposite gender? Or a song that suggestively implies ladies as objectified tools for intimacy?
Let’s admit, these songs can be addictive— as bad as Ruger’s lyrics can be, filthy as they are, as derogatory as Odumodublvck’s lyrics can often be, they are indeed juicy songs that are proof of their musical talent.
But to what extent? Are we missing the criteria of judging a music? Is it justified by the actual lyrics? Or the pure ecstasy of enjoying the groove a song brings?
If we are to thoroughly explore the lyrics of Nigerian artists and how shallow their songwriting skills can be, perhaps, we will be compelled to express distaste for our very own music. Nigerian music is beyond vibes, it’s as though these lyrics are shallow but are yet, powerfully mediocre— see Shallipopi’s Cast. As shallow as the songwriting is, it portrays women in a vividly transactional image, which is not only belittling but as well derogatory.
Same goes for Iyanya’s One Side, which is an utter failure of making an attempt to paint a romantic picture. Compared to the others on this alter of slanderous lyrics though, this artist will survive, perhaps.
Very few artists however, are still under the art of making poetic lyrics, words that are compellingly good and some so good, you could rizz up a lady with it! The likes of BNXN, Ric Hassani, Johnny Drille, are still very much in the business of creating lyrics that are temptingly good. There are also a certain sect that though their lyrics are degrading in no way, they are certainly shallow in terms of depth. The likes of Davido, Tekno, with a known reputation of questionable lyrics that are hilarious.
In a candid realization, we might have to deal with the ugly lyrics often portrayed by Nigerian artists; make do with whatever groove that comes with their music, whilst absorbing the harsh words meted out through their ‘profound’ songwriting skills.
If we can religiously be thrilled with music from the like of Cardi B, Future, and scream our lungs out from their ridiculously absurd lyrics, perhaps we should manage to contain our emotions and thoughts with the provocativeness of how our Nigerian artists pen games are; as well as learn to ignore the portrayal of the opposite gender through their music— for lack of better words, it’s their inability to construct a definite image that causes this, and their sole desperation for putting together a piece.
Not even a thousand clamor would rectify the mentality of the male Nigerian artists, not a thousand backlash at Odumodublvck would cause him to fold— sincerely, there’s the option of shutting out these artists music if their lyrics are thought-provoking.
What these men are after, is a hit song that’ll burst stereos if their listeners, and they couldn’t care less how piercing their lyrics are.