Tekno sparks debate over Fela’s role in Afrobeats history

Nigerian artist Augustine Okechukwu, professionally known as Tekno, has reignited discussions surrounding the origins and evolution of Afrobeats by questioning the widely held belief that Fela Anikulapo-Kuti alone pioneered the genre. His observations, voiced during a recent interview on Hot 97, have prompted a reexamination of the musical landscape that birthed Afrobeat and its contemporary offshoot, Afrobeats.

Tekno acknowledged Fela Kuti’s significant role in popularizing Afrobeat internationally, recognizing the late musician’s impact as a global ambassador for the genre. However, he emphasized that the history of Nigerian music is richer and more complex than a single figure’s legacy. He highlighted the influence of other artists, particularly those associated with highlife music, such as Oliver De Coque, whose work, Tekno argued, also contributed to the foundation of modern Afrobeats.

The singer recounted his upbringing in eastern Nigeria, where highlife sounds shaped his musical sensibilities. He suggested that highlife, though distinct, shares a musical lineage with Afrobeats, blurring strict genre boundaries. Tekno’s position invites a broader acknowledgment of diverse musicians who laid early groundwork for Nigeria’s vibrant music scene.

These remarks have spurred active debate across social media platforms, notably on X (formerly Twitter), where opinions diverge sharply. Supporters of Tekno’s viewpoint laud his effort to bring attention to lesser-known pioneers and encourage a more inclusive recognition of Nigeria’s musical heritage. They argue that figures like Oliver De Coque and other highlife legends deserve a place alongside Fela Kuti in the narrative of Afrobeats’ evolution.

Conversely, critics maintain that Tekno conflates distinct genres, stressing the importance of differentiating Afrobeat—the genre created by Fela—from Afrobeats, the broader, more eclectic contemporary genre. They assert that highlife and Afrobeat are separate musical traditions, with the former predominantly rooted in Ghanaian and Nigerian sounds predating Fela’s innovations. This camp insists that Fela’s creation of Afrobeat is well-documented and foundational, and that his global influence remains unparalleled.

Some commentators also pointed out complexities in the musical genealogy, noting that artists like Oliver De Coque were themselves influenced by earlier traditions and musicians, including Yoruba juju music and other regional styles. This highlights the intricate tapestry of cultural exchange and development underlying Nigerian popular music.

The discourse touches upon deeper questions about how history credits musical innovation and how cultural narratives are shaped by exposure, travel, and global reach. Fela’s international touring, political activism, and band leadership amplified his profile, possibly overshadowing other contributors who remained more localized or less publicized.

This renewed focus on Afrobeats’ origins comes amid ongoing conversations about the genre’s identity and the legacy of its pioneers. Following previous debates involving Fela’s descendants and contemporary artists, Tekno’s comments add fresh dimensions by spotlighting eastern Nigerian influences and challenging a monolithic view of Afrobeats’ roots.

While Fela Kuti’s status as the father of Afrobeat remains widely respected, this discussion underscores the genre’s layered evolution and the need to appreciate a broader spectrum of musical contributors. It also invites a more nuanced understanding of how highlife, juju, and other indigenous styles have interwoven to shape the sound and spirit of modern African music.

Details about Tekno’s full perspective and the responses from other key figures in the music industry remain limited. However, the dialogue his statements have sparked highlights ongoing efforts within Nigeria and beyond to preserve and honor the diverse legacy of African musical innovation.