Seun @ 42: Celebrating a Musical Maestro and a Dauntless Revolutionary

When it comes to Seun Anikulapo Kuti, it is not just his name, his music or his saxophone that defines him—it is the unquenchable flame within him, a fire that refuses to be extinguished.

On January 11th, Eleniyan, as he is fondly called by close associates, added another year, and it’s a good time to reflect on his journey as a torchbearer of Afrobeat, a voice of resistance, and a deviant who is not afraid to shake the tables of the high, mighty and powerful.


A Legacy Born in Fire

Born in 1983 in Lagos, Nigeria, Seun was raised in the shadow of a giant—Fela Kuti, the man who turned Afrobeat into a weapon against oppression. From the get-go, Seun was immersed in music and politics, absorbing the rhythms of rebellion that filled the air in the Kalakuta Republic. By age nine, he was already performing with his father’s band, Egypt 80. At just 14, after Fela’s transition, Seun stepped up to lead the band, shouldering the heavy mantle of Abami Eda’s legacy.

While most teenagers were figuring out life, Seun was making music that would become the voice of the voiceless. His debut album, “Many Things” in 2008, was a loud, unapologetic statement that Seun was not here to just entertain; he was here to educate, provoke, and inspire.


Singing Against the Tide

In a music industry where the airwaves are filled with songs about wealth and hedonism, Seun’s music is like a cold splash of reality. While his professional colleagues are busy serenading fast cars and even faster lifestyles, Seun takes on the global financial systems with tracks like “IMF (International Mother Fuckers).” He does not sugarcoat his disdain, as observed in the lyrics below:

I say na so-so cheating from the (IMF)
So much lying from the (IMF)
So much stealing from the (IMF)
So much killing from the (IMF)
Manipulation from the (IMF)
Intimidation from the (IMF)
So much suffering from the (IMF)
Very dangerous people (IMF)

Dem and their World Bank brothers and some African fools
Dem go give them title, make dem come rule
Dem go say “Do as we tell you, lie to your people”
Dem go say “Do as we tell you, cheat your people”

Compare that with the chart-toppers glorifying money and materialism, and you realize Seun is in a league of his own—a lone wolf howling against the storm of superficiality.


Seun Kuti’s “African Dreams”: A manifesto for African youth

In African Dreams, one of the tracks from the 2018 album Black Times, Seun Kuti delivers a powerful critique of the widespread obsession with Western materialism among African youth, juxtaposing it against the continent’s urgent need for socio-political awakening and self-determination. Through his lyrics, Seun laments how many African youths are “lost to television” and “chasing the American dream,” symbolizing a collective detour from African aspirations towards a superficial, Western-centric ideal.

Seun’s message echoes the revolutionary sentiments of iconic figures like Thomas Sankara and Patrice Lumumba, who envisioned a self-reliant Africa free from the shackles of neocolonialism. His rhetorical questions, “Who dey dream for Africa?” and “Who go manifest the vision of so many lost generations?” challenge listeners to reflect on their role in shaping the continent’s future. The repetition of these questions acts as a wake-up call, urging the youth to abandon the empty pursuit of material wealth in favor of building a just and equitable society.

The song critiques the fixation on consumerism, where the youth work and sweat “just to buy” foreign goods, emphasizing a cycle of exploitation that prioritizes material gain over community welfare. Seun contrasts this with the legacies of Kwame Nkrumah, Che Guevara, and his own father, Fela Kuti, who dedicated their lives to revolutionary causes rather than personal wealth accumulation. He asks, “What if Fela never dream and just dey buy?” underscoring the critical role of visionary leaders who sacrificed personal comfort for the greater good.

Seun also exposes the hypocrisy of societal elites who preach luxury while ignoring the suffering of the masses. His lyrics, “Dem no build nothing for the children, dem no build nothing for the homeless,” critique the lack of infrastructure and support for the needy, contrasting sharply with the lavish lifestyles of the wealthy. This stark disparity reinforces his call for a shift in priorities from individual affluence to communal upliftment.

Besides being an ageless musical masterpiece, African Dreams is a manifesto for African youth, urging them to reclaim their long dashed consciousness and dream for Africa. Seun Kuti’s blend of sharp social commentary and rhythmic Afrobeat reminds all people of African descent that true progress lies in the collective realization of Africa’s potential, rather than in the mimicry of Western lifestyles.


The #EndSARS Catalyst

During the #EndSARS protests in 2020, when the streets were filled with anger against police brutality, Seun didn’t just lend his voice—he became a catalyst for change. Alongside artists like Vector Tha Viper and Small Doctor, Seun led thousands from Allen Avenue to the Lagos State Secretariat in Alausa.

From the left: Small Doctor, Seun Kuti and Vector addressing their fellow EndSARS protesters at the Allen Avenue roundabout.

As the youth gathered, demanding an end to the Special Anti-Robbery Squad, Seun stood at the center of Allen Roundabout and transformed the protest into something bigger.

With a revolutionary aura, he declared that EndSARS wasn’t just about police brutality; it was a metaphor for “End Senate And Reps Salaries.” Seun pointed out that the real armed robbers were the politicians who plundered Nigeria’s wealth, leaving the masses impoverished.

Seun Kuti addressing EndSARS protesters at the Lagos state Secretariat

His words hit hard, and almost as if by magic, the government suddenly announced the approval of the 5for5 demands—a move clearly meant to defuse the uprising, fearing the fire Seun had ignited.


Humor in Rebellion

But don’t get it twisted; Seun is not always the stern revolutionary. Beneath the intense exterior is a man with a wicked sense of humor. He can joke about almost anything—except his ideology. Whether he’s making fun of the absurdities of power or sharing light-hearted stories, Seun knows how to keep the crowd laughing. His humor, often sharp and self-deprecating, makes him relatable, even when his messages are hard to swallow.


The Global Stage

Seun’s influence is not confined to Nigeria. His performances on stages like Glastonbury and Coachella spread the message of Afrobeat and social justice worldwide. With his Grammy-nominated album “Black Times,” featuring Carlos Santana, Seun carried his father’s revolutionary spirit into the global arena, demanding African empowerment and self-determination.

Damian Marley and Seun Kuti

Unlike some offspring of established figures, who go to sleep relying on the yields of their forebearers, Seun Anikulapo Kuti has proven to be exceptional. He worked hard to make a name for himself. He is not just riding on Fela’s coattails; he has carved, and continues to carve, out his own legacy as a fierce advocate for justice. His music, filled with sharp political commentary and powerful beats, is a call to arms.

As we mark Seun’s birthday, we honor him as a lighthouse in the storm, a voice that echoes louder than the winds of oppression, and a jester whose laughter rattles the very walls of authority.

Happy Birthday, Seun Kuti. The world needs your voice more than ever, and we are glad you are here to keep shaking the system.

(C) SANKARA


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