Ayinde Barrister: Prophet without honour (2) - Newstrends
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Ayinde Barrister: Prophet without honour (2)

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6 years ago

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By Tunde Odesola
(Published in The PUNCH on Monday, January 4, 2021)
Barrister wasn’t a stark illiterate. He wasn’t an academic either. But he created Fuji, a music brand that has swallowed various pre-existing Yoruba music such as Sakara, Apala, Awurebe, and paralysed erstwhile top-of-the-chart music, Juju.
However, there are many ‘ifs and buts’ that could have changed the success story of Fuji since Barrister evolved the genre in the late 1960s from ‘Were’, an Islamic music used to wake Muslims up during Ramadan.
One if: Would Fuji have survived IF Ayinla Omowura aka Egunmogaji, a fiery Apala musician, who was much popular than Barrister at the time, hadn’t been stabbed to death on May 6, 1980 at a beer parlour in Abeokuta, Ogun State?
Another if: Would Fuji have survived IF another Apala chart-bursting legend, Alhaji Haruna Ishola aka Baba nGani Agba, hadn’t died on November 9, 1983, at the age of 64?
One but: BUT, today, Fuji is eclipsing Juju, which was much more popular than Apala and Sakara in the 1960s, 70s and part of the 80s.
Another but: BUT, apart from General Kollington Ayinla, who is today seen as the father of Fuji music after the demise of Barrister, Fuji is blessed with a succeeding generation of young, creative stars led by King Wasiu Ayinde aka K1 the Ultimate, and other Fuji greats such as Adewale Ayuba aka Mr Johnson, Abass Akande Obesere aka Omo Rapala, Wasiu Alabi Pasuma aka Oga Nla, and Saheed Osupa aka Olufimo Mat’agbamole, whose collective music is highly accepted by the masses – an advantage which both Juju and Apala lacked.
Apart from Sir Shina Peters, who temporarily shook the Juju music scene to its foundation between 1989 and 1992 with his Afro Juju series, no other younger-generation Juju musician has had as much popularity or shown enough conviction to reignite the torch of Juju lit on the global stage by Chief Commander Ebenezer Obey and King Sunny Ade.
Barrister is no saint. I shall soon come to his devilry. But in the meantime, I’ll examine the uniqueness of his music and the reason his albums and live plays remain the most selling within the Fuji genre, 10 years after his death.
After I was blooded into Barrister’s music at The PUNCH editorial meeting in 2017, two interconnected incidents happened that reopened my eyes to the in-betweenness of music to religion and culture.
The first incident was a postgraduate assignment that defogged my sight and shed the scales off my eyes. The other was a visit to renowned Ifa priest, Chief Ifayemi Elebuibon, the Araba of Osogbo, in furtherance of the aforesaid academic assignment.
Because of its pursuit for excellence and proximity to my workplace, I had applied to the School of Postgraduate Studies, Babcock University, Ilishan-Remo, for a degree in English Literature.
A Professor of Gender Studies and African Oral Literature, Mobolanle Sotunsa, taught my part-time class African Oral Literature.
As part of the academic requirements for the class, students were mandated to conduct research on chants as an enactment of African orature experience.
The assignment took me to the shrine of Elebuibon in the Pepsi Cola area Ayetoro, Osogbo. At Elebuibon’s shrine, which I visited on consecutive days, I videoed the call-and-response spontaneity of chants as an oral technique in the expression of African religious beliefs.
Employing incantations (chants) to seek divine requests – on behalf of his various clients – Elebuibon communed with the gods, using the opele, a short string of divination made of cowries.
Singing unrehearsed and unrestrained Ifa divination verses, Elebuibon maintained an instinctive call-and-response communication with his acolytes who responded appropriately to his sudden change in songs, riddles, declarations etc.
The beauty of Elebuibon’s rich poetic rendition of Ifa panegyrics wasn’t lost on me despite not being an Ifa worshipper. Buried in the Ifa praise worship are ancient Yoruba histories of conquests, victories, harvests, deaths, famine, pestilence, treachery etc.
Although I’m a Christian, on one of my visits to Elebuibon’s shrine, I took my children along with a view to letting them have an insight into the trado-cultural heritage of the Yoruba.
At Elebuibon’s, my children seemed like fish out of water because they couldn’t understand the chants and songs, but I tried to explain their meanings to them in the hope that they would understand that the world is a continuous evolution of forms between the old and the new because before New York was created, there was an Old York; before Iyana Ipaja New Road, there was Iyana Ipaja Old Road, before New Bodija birthed, there was Old Bodija.
Although Barrister never got university education, much more than most foremost Yoruba musician of his era, Agbajelola exhibited a profound understanding of the invaluable place of history, culture and tradition as tools for personal actualisation and nation-building. This realisation is the heartbeat of his musical supremacy.
While a number of musicians in his era were becoming ‘born-again’ and abandoning Yoruba trado-cultural beliefs for western religions and teachings, Barusati maintained an intricate balance between Islamic and Yoruba religions in his music – at the risk of being tagged a hypocrite and an infidel by ardent Islamic faithful. This is the audacity of his art.
In his discography, Barrister explored the heroics of major deities of the Yoruba pantheon with a fluidity common to African oral chants.
Barrister’s amazing exposition of Yoruba tradition and culture flourishes in his December 1988 album, Fuji Garbage 2, wherein he traces the death of Oya, the River goddess, to Ira in Kwara State, the death of Sango, god of Thunder, to Oyo, and the death of Obalufon to Erin just as his nickname, Ayinde-Ogun, as encapsulated in Fuji Missile, released in 2001, is in reverence of Ogun, the god of Iron.
With this trajectory, Barrister scored four goals: he carried the large population of traditionalists along, retained his large Muslim following, courted listeners of good music and maintained a didactic edge to his preaching, using Yoruba histories, similes, metaphors, proverbs, pun, sarcasm, wit etc to explain confusable narratives.
Dwelling on expert use of evocation, Barusati never held rehearsals with his band members when going to the studio – according to the testimonies of his band members that included his band captain and lead drummer, Aderoju Yekinni aka Aderoju Onilu, and his close associates like Alhaji Adisa Onifade, Chief Buhari Oloto, Alhaji Murhi Gbadeyanka, Alhaji Adisa Osiefa, Asiwaju Tunde Khamis Badmus, Chief Abiola Ogundokun, Chief Oyasola Oyadeji, Alhaji Adebayo Azeez (Azz Motors) and Alhaji Ayinde Abeeb.
Because of the limitless elasticity of his voice and the depth of his message, Dedegbo would not so much worry about setting his poetry to music as he would worry about passing his message across unambiguously.
This is why he didn’t engage in rehearsals with his band members because he knew that he could do all the singing and chorusing as he occasionally left his band members stranded during studio recordings or live plays.
Aderoju said, “We never ever did any rehearsals while going to record an album. Never. We did live plays during the week, Barrister could pick some beats I played during the week and set music to them.
“He would just say, we’re going to the studio tomorrow or the day after. As the band leader, I would get some beats ready using proverbs or jokes. So, while at the studio, he would tell you to give him a beat. You must be ready.
“I learned how to research from him because whenever he wanted to sleep, he would put a pen, jotter and tape recorder by his pillow so that whenever he receives inspiration while sleeping, he would write it down.
This no-rehearsal latitude that Barrister exhibited cannot, however, be executed by Juju musicians because, unlike Fuji, the guitar and other string instruments form the template upon which Juju rests, and it’s not possible to go into the studio to record Juju music without rehearsals.
(To be concluded next week)
Facebook: @tunde odesola
Twitter: @tunde_odesola

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St. Janet, Nigeria’s ‘General Overseer of Sinners’ Chapel,’ Dies After Brief Illness

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15 hours ago

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August 2, 2026

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St. Janet, Nigeria's 'General Overseer of Sinners' Chapel,' Dies After Brief Illness
Iyun Janet Ajilore popularly known as St Janet

St. Janet, Nigeria’s ‘General Overseer of Sinners’ Chapel,’ Dies After Brief Illness

Iyun Janet Ajilore, the celebrated Nigerian Juju and highlife musician popularly known as St. Janet, has died after a brief illness. The news of her passing has sent shockwaves through the entertainment industry, with fans and colleagues mourning the loss of one of the most unique and fearless voices in indigenous Nigerian music.

The veteran entertainer reportedly passed away on Saturday, August 1, 2026. Publisher and socialite Otunba Femi Davies announced the news early on Sunday through his social media handles. According to Davies, St. Janet died after a brief illness. Her family has yet to release an official statement detailing the circumstances surrounding her death or announce funeral arrangements.

St. Janet, who was also fondly called “Mama Yabis,” carved a unique niche for herself in Nigeria’s indigenous music scene. She rose to prominence as one of the most prominent female voices in a genre largely dominated by male performers. Her style was a distinctive blend of Juju and highlife music with witty, socially unfiltered lyrics that often addressed societal issues, gossip, and everyday happenings. This earned her a reputation as a fearless and charismatic entertainer who pushed boundaries and sparked public debate about censorship and artistic expression.

Known for her electrifying live performances and engaging stage presence, St. Janet became a regular feature at weddings, birthdays, chieftaincy ceremonies, and other high-profile social gatherings across southwestern Nigeria. Her music, often performed in Yoruba and infused with rich cultural expressions, earned her a loyal following. Some of her notable and controversial albums included ‘Faaji Plus’ and ‘5G Plus,’ which pushed cultural boundaries and sparked public discussion.

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Interestingly, the controversy surrounding her ‘Faaji Plus’ album was never intended for public consumption. In a previous interview, St. Janet explained that the music was a live performance at a private party for select guests that was later pirated and released to the public. She stated, “The CD that you see out there is not really an album. It was a live performance at a party for selected people. The music is meant for adults. It was not meant for everybody.”

Despite the controversy, St. Janet remained unapologetic about her artistic style. “I know that people are criticising me because I am a woman. If I were a man, nobody would complain that I am singing obscene songs,” she once said. She insisted that her music reflected societal realities and that she gave her audiences what they wanted. At the same time, she maintained that her on-stage persona was different from her off-stage character, describing herself as naturally shy and reserved.

The late musician’s background was deeply rooted in Christianity. She was a chorister in a white garment church before transitioning into professional music. This religious foundation often influenced her performances, as she would start her shows with gospel songs before moving into more provocative material, a strategy that one scholar described as an “insidious approach” to erotic performances.

Her career spanned decades, beginning as a backup singer for her master, Lord Kenge, before launching her solo career. She once explained that her stage name “Saint” came from her master, who called her a “saint” because of her quiet, reserved nature off-stage.

St. Janet’s passing has generated an outpouring of grief from fans, colleagues, and lovers of indigenous Nigerian music, many of whom have taken to social media to pay tribute to the late performer. She is remembered as an entertainer with unmatched stage charisma and an enduring legacy that contributed significantly to preserving and promoting Juju and highlife music in Nigeria.

As of the time of filing this report, members of her family have yet to issue a detailed statement on the circumstances surrounding her death or announce burial arrangements. The passing of St. Janet marks the end of an era for many followers of indigenous Nigerian music, but her extensive body of work and contributions to the preservation and promotion of Yoruba musical heritage are expected to endure for generations.

St. Janet, Nigeria’s ‘General Overseer of Sinners’ Chapel,’ Dies After Brief Illness

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Tyla drops Lagos from A*POP World Tour amid boycott calls, concert threats

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2 days ago

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July 31, 2026

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Tyla Laura Seethal

Tyla drops Lagos from A*POP World Tour amid boycott calls, concert threats

South African singer Tyla Laura Seethal has removed Lagos from the schedule of her A*POP World Tour, days after her planned concert in Nigeria sparked boycott calls and heated online debate linked to renewed concerns over xenophobic attacks against Nigerians in South Africa.

The Lagos concert, initially scheduled for December 22, 2026, was no longer listed on the updated itinerary displayed on Tyla’s official tour platform as of Friday.

The revised schedule retains previously announced performances across Europe, North America and South Africa but no longer includes Nigeria.

Tyla had earlier announced Lagos as the only Nigerian stop on the tour, which is being held in support of her A*POP album. The Nigerian show was expected to take place before the tour’s final performances in Cape Town on January 4, 2027, and Johannesburg on January 9, 2027.

However, Tyla, her management team and the concert promoters had not issued an official statement explaining why the Lagos date was removed.

As a result, it remains unclear whether the concert has been permanently cancelled, postponed or temporarily taken off the public schedule.

The planned Lagos performance generated mixed reactions after it was announced, with some Nigerians calling for a boycott over reports of renewed xenophobic attacks and concerns about the safety and treatment of Nigerians living in South Africa.

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Supporters of the boycott argued that South African entertainers should face public pressure until stronger action is taken to address attacks and discrimination against other African nationals.

Others disagreed, maintaining that Tyla should not be held personally responsible for the actions of individuals involved in xenophobic violence or for broader social and political challenges in South Africa.

The controversy intensified after social media activist Martins Vincent Otse, popularly known as VeryDarkMan, said he would mobilise members of his “Ratel Movement” to prevent the concert from taking place.

In a social media post, VeryDarkMan said the planned action was intended to show solidarity with Africans affected by xenophobic violence. He also criticised South African celebrities and public figures whom he accused of not speaking strongly enough against attacks on foreign nationals.

His comments generated further debate, with some social media users supporting the boycott campaign while others raised concerns about calls to disrupt a music event.

Former presidential candidate Omoyele Sowore opposed the boycott effort, arguing that Tyla should not be held responsible for xenophobic violence.

Sowore said Nigerians should focus their anger and demands for accountability on those responsible for attacks and the institutions expected to protect foreign nationals.

He maintained that artists should not be treated as personally accountable for the actions of other people simply because they share the same nationality.

The dispute comes amid renewed public concern over reports involving Nigerians living in South Africa, including the reported death of Nigerian national Chika Ibe in Cape Town.

The reports have renewed calls for stronger action to protect Nigerians and other foreign nationals, investigate alleged attacks and promote accountability.

The removal of the Lagos date from Tyla’s tour schedule has added uncertainty to the status of the planned concert.

While the date is no longer visible on the singer’s official itinerary, there has been no formal announcement confirming that the show has been cancelled or postponed.

Fans and prospective attendees may therefore have to wait for clarification from Tyla’s team or the Nigerian concert promoters.

The development has also renewed discussions about the role of entertainers in public debates and whether cultural events should be used to express opposition to xenophobia.

Some supporters of the boycott view it as a peaceful expression of solidarity with people affected by xenophobic violence. Others believe artists should be judged by their personal actions and should not be held responsible for social or political issues beyond their control.

For now, Lagos is absent from the publicly available A*POP World Tour itinerary, while the South African dates remain listed.

 

Tyla drops Lagos from A*POP World Tour amid boycott calls, concert threats

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Abia Gov Steps In With Medical Support for Ailing Nollywood Veteran Ngozi Nwosu

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5 days ago

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July 29, 2026

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Abia Gov Steps In With Medical Support for Ailing Nollywood Veteran Ngozi Nwosu

Abia Gov Steps In With Medical Support for Ailing Nollywood Veteran Ngozi Nwosu

Abia State Governor, Dr. Alex Otti, has authorized immediate medical intervention for veteran Nollywood actress Ngozi Nwosu, answering her desperate public plea for financial assistance amid a critical health crisis. The 62-year-old screen icon, battling an undisclosed illness, urgently requires three life-saving surgeries estimated at ₦30 million, and the governor’s timely response has provided a crucial lifeline as she prepares for the first of these complex procedures.

The approval, covering the initial phase of her hospital bills, was announced on Tuesday by the Governor’s Senior Special Assistant on Tourism and Entertainment, Dr. Justice Okechukwu Martins, who is widely known as JMartins. In a heartfelt post shared on his official X (formerly Twitter) account, Martins confirmed the governor’s swift action while emphasizing that the journey to full recovery is far from over. “His Excellency @alexottiofr have just stepped in on the health issues of our Nollywood legendary actress Mrs Ngozi Nwosu to approve the first part of our medical bills,” Martins wrote. “While we sincerely appreciate His Excellency, we still appeal to kind-hearted Nigerians to please support her in any way possible you can. On behalf of the creative industry, we all Thank you immensely My leader.”

Abia Gov Steps In With Medical Support for Ailing Nollywood Veteran Ngozi Nwosu

Veteran Nollywood actress Ngozi Nwosu

The intervention comes less than a week after Nwosu made an emotional appeal from her hospital bed, revealing that she had been hospitalized for three weeks and urgently needed three life-saving surgical procedures costing approximately ₦30 million. In a tearful video that went viral across social media platforms, the veteran actress pleaded, “My people, my fans and my family, I know that you’ve not seen me in circulation for some time. I’ve been hospitalized now for three weeks. Please, the thing has gone beyond my control. I need your help, don’t let me die.” Her management team later confirmed that following an encouraging outpouring of public support, she was being prepared for her first surgery, though they noted that the total financial requirement remains substantial and additional contributions are still urgently needed.

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This is not the first time Ngozi Nwosu has faced a life-threatening medical condition. In 2012, she battled severe kidney and heart-related complications, a crisis that required her to travel to the United Kingdom for advanced treatment. On that occasion, the Lagos State Government and several well-meaning Nigerians rallied to her aid, covering her medical expenses and enabling her recovery. Friends and close associates have expressed concern that the current ailment appears more aggressive, with the actress reportedly requiring a longer hospitalization period and more complex surgical interventions than she faced during her previous health battle over a decade ago.

The governor’s timely intervention reaffirms his administration’s broader commitment to supporting notable Abia indigenes, particularly those who have made indelible contributions to Nigeria’s creative and entertainment industry. Governor Otti has previously pledged to position Abia State as a major hub for film production, entertainment, tourism, and cultural promotion, and as part of this vision, his administration is actively pursuing plans to establish an Entertainment City in Aba designed to provide world-class infrastructure for filmmakers, musicians, and other creative professionals. This is not an isolated act of kindness; the governor had earlier approved ₦20 million each for legendary highlife icon Daddy Fresh and veteran actor Sunny McDon, demonstrating a consistent pattern of humanitarian intervention for aging entertainers in distress across the state.

While Governor Otti’s support covers the first phase of Nwosu’s treatment, JMartins and her management team have reiterated that additional financial assistance will still be required to ensure she receives comprehensive care. Fans, colleagues, and well-wishers who wish to contribute to Ngozi Nwosu’s medical fund are encouraged to reach out through verified channels managed by her family and official representatives, with donations also able to be made via the account details that have been circulated on her official social media pages. The entertainment community continues to rally around her, hoping for a successful procedure and a swift return to good health.

Ngozi Nwosu is widely regarded as one of Nollywood’s most respected veterans, with a career spanning over three decades. She rose to national prominence through her unforgettable performances in television and film, including her iconic role in the beloved sitcom Fuji House of Commotion, which cemented her status as a household name across Nigeria. Her contributions to the Nigerian movie industry have earned her a permanent place in the hearts of audiences across the country, and this collective outpouring of support reflects the deep affection Nigerians hold for her as she faces this latest health challenge.

Abia Gov Steps In With Medical Support for Ailing Nollywood Veteran Ngozi Nwosu

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