Shallipopi’s “Laho” emerges as a street anthem deeply rooted in the contemporary Afrobeat soundscape, blending indigenous linguistic expressions with the rhythmic pulse of modern Nigerian music. The song’s title, “Laho,” is derived from the Edo language, carrying a meaning associated with pleading or seeking intervention, which resonates with the song’s thematic exploration of financial survival, ambition, and the complexities of social status. This track encapsulates the fast-paced, hustle-driven mindset that characterizes the present generation, where financial success is equated with respect and influence. Through its lyrics, Shallipopi crafts a narrative that is both relatable and aspirational, positioning himself as a voice for the urban youth navigating economic hardships and societal expectations.

The opening lines, “Shoutout everywhere, who be lover boy for Benin wey dey scatter area?” immediately set the tone for a song steeped in street credibility and regional pride. Shallipopi integrates native dialects seamlessly into the track, reinforcing the authenticity of his artistic identity. The fusion of pidgin English and Edo language enhances the raw, unfiltered delivery that has become a signature element in modern Afrobeat and street-pop subgenres. This linguistic code-switching is not merely stylistic but also serves as a cultural bridge that connects his audience, creating an inclusive atmosphere for listeners from diverse linguistic backgrounds. Moreover, the repetition of “Ghe gunmwẹn dẹ ọ, lahọ” throughout the chorus underscores the central theme of seeking financial relief, a sentiment that resonates deeply with a populace constantly battling economic instability.

Beyond its lyrical content, the song’s instrumental arrangement leans heavily on high-energy percussion and a pulsating beat that aligns with contemporary Afrobeat’s dance-centric nature. The production style, characterized by minimalist melodies layered with bass-heavy rhythms, mirrors the sonic evolution of Afrobeat into a genre that prioritizes groove and club appeal over complex instrumentation. This emphasis on rhythm and catchy hooks ensures that “Laho” functions effectively as a party track while simultaneously reflecting the everyday struggles of the average Nigerian youth. The musicality of the track also suggests an awareness of global Afrobeat trends, as Shallipopi infuses elements of trap music and amapiano-like beats, further demonstrating how Afrobeat has become an adaptable and evolving genre.

Traditional Afrobeat vs. Contemporary Afrobeat: A Shift in Narrative and Purpose

The evolution of Afrobeat from its traditional form to its contemporary iterations highlights a fundamental shift in the purpose and content of the genre. Historically, Afrobeat, as pioneered by Fela Kuti, was characterized by its politically charged lyrics, complex instrumentation, and long, improvisational compositions. Songs like “Zombie” and “Water No Get Enemy” served as direct confrontations against governmental oppression, corruption, and social injustices. The instrumentation was heavily influenced by jazz, highlife, and funk, creating a rich and intricate musical tapestry that complemented the weighty messages embedded in the lyrics.

In contrast, modern Afrobeat, as exemplified by “Laho,” has largely deviated from overt political and social commentary, instead shifting towards themes of self-expression, luxury, and urban survival. Artists like Shallipopi, Asake, and Zlatan have embraced a more hedonistic approach, prioritizing lifestyle, entertainment, and aspirational storytelling. While this does not necessarily dilute the genre’s essence, it does signal a transformation in its role within society. Rather than serving as a tool for resistance and activism, contemporary Afrobeat now functions as a medium for escapism, allowing listeners to find momentary relief from economic pressures through dance and celebration.

Another notable shift is in the song structures and lyrical complexity. Whereas traditional Afrobeat relied on extended instrumental breaks, layered horns, and thought-provoking poetry, modern Afrobeat leans towards shorter song durations, repetitive hooks, and digital production techniques. The rise of streaming culture has also played a role in shaping this transformation, as artists now craft music that caters to instant gratification and mass consumption. “Laho,” for instance, employs a cyclical chorus that makes it easy to remember and replay, a strategic move that maximizes its commercial appeal. However, this trade-off between lyrical depth and mainstream accessibility raises questions about whether Afrobeat has lost some of its original depth in exchange for broader appeal.

The Role of Music in Reflecting Society: Then and Now

Music has historically been a mirror of society, reflecting the struggles, triumphs, and cultural shifts of different eras. In the case of Afrobeat, the genre was once a radical force that amplified the voices of the oppressed and challenged authority through sonic rebellion. Fela Kuti’s music was an extension of activism, documenting the socio-political realities of post-colonial Nigeria and inspiring movements against dictatorship and exploitation. His lyrics were explicit in their condemnation of societal ills, making his music both a historical archive and a catalyst for change.

Contemporary Afrobeat, however, reflects a different societal reality one in which the focus has shifted from collective activism to individual survival and success. The themes of financial security, opulence, and personal resilience, as echoed in “Laho,” are indicative of a generation more concerned with economic empowerment than political engagement. While this may be interpreted as a dilution of the genre’s original purpose, it is also a reflection of the evolving aspirations of Nigerian youth, who see music as both a form of expression and a pathway to financial stability. Shallipopi, like many of his contemporaries, uses his music to articulate the desires and realities of his audience, even if those themes no longer center on activism.

However, this shift does raise critical questions: Has music lost its power as a tool for social change, or has its role simply evolved to meet the demands of a different audience? While tracks like “Laho” may not carry the same revolutionary fervor as Fela’s compositions, they still serve as cultural artifacts that document the prevailing aspirations and anxieties of today’s society. The rise of street-pop and Afro-fusion subgenres demonstrates that music continues to be a reflection of contemporary realities, albeit through a different lens. Whether this evolution represents a loss or an adaptation is subjective, but it undeniably highlights the dynamic nature of Afrobeat and its ability to evolve with the times.

Conclusion

Shallipopi’s “Laho” is a testament to the changing face of Afrobeat, illustrating how the genre has adapted to new social, economic, and technological landscapes. While it diverges significantly from the politically charged Afrobeat of the past, it remains deeply rooted in the storytelling traditions of African music. The emphasis on financial stability, street credibility, and cultural pride aligns with the realities of modern Nigerian youth, offering a sonic escape while simultaneously validating their struggles.

The question of whether Afrobeat has been “denatured” is complex and depends largely on one’s perspective on the function of music. If the goal is to inspire activism and challenge the status quo, then contemporary Afrobeat may seem like a diluted version of its predecessor. However, if the goal is to document the evolving aspirations of a generation and provide a form of artistic expression that resonates with the masses, then its transformation can be seen as a natural progression rather than a decline. In the end, Afrobeat continues to serve as a reflection of its time—whether through social resistance or the pursuit of success.

The question of whether Afrobeat has been “denatured” is complex and depends largely on one’s perspective on the function of music. If the goal is to inspire activism and challenge the status quo, then contemporary Afrobeat may seem like a diluted version of its predecessor. However, if the goal is to document the evolving aspirations of a generation and provide a form of artistic expression that resonates with the masses, then its transformation can be seen as a natural progression rather than a decline. In the end, Afrobeat continues to serve as a reflection of its time—whether through social resistance or the pursuit of success