TuFace and Flavour’s Evolution and Revolution Influence on Nigerian Music

It was interesting to hear out two On Air Presenters (OAPs) debate, which of TuFace Idibia and Flavour, two Nigerian style-definite artistes to cool off with after heated political analyses. Quick to it!

TuFace, known for his Afrobeats fusion, evolved beyond highlife, blending R&B, reggae and soul. He followed the global successes of Shina Peters and Majek Fashek. Shina Peters with “Ace (Afro-Juju Series 1-1989)” fused juju music with Afrobeat for Afro-Juju. Shina’s female dancers twerk- entranced African-Americans with energetic rhythms and catchy melodies. On the other hand Majek Fashek with “Send Down the Rain,” earlier from his 1988 album “Prisoner of Conscience,’ was a sentimental crowd puller. The song’s powerful lyrics and reggae rhythms resonated with audiences worldwide and earned him the sobriquete “The Rainmaker.” Again Majek’s peculiar stage antics crowned him!

TuFace’s “African Queen” and “Only Me,” eriched social consciousness, addressed themes of justice and responsibility.Was he somewhat unabble to shake off Majek’s influence? No, you could hear the strains of Bob Marley’s chant, which Majek hacked into for inspiration. So would the same be said of Flavour vis-a-vis Shina Peters’ influence. Flavour revolved back to highlife by infusing traditional Igbo rhythms and instruments. His “Ada Ada” and “Nwa Baby” still celebrates cultural themes, love and joy. Really, continuing highlife’s relevant organic throw-back themes since the 1960s. Unmistakbly evolving and revolving respectively, TuFace and Flavour have continued to drive that dynamic harmonizing synergy of Nigerian culture across borders.

Tuface gained fame from the now-defunct vocal group, Plantashun Boiz, before a solo success. His debut album, Face 2 Face (2004), featured that iconic anthem “African Queen,” celebrating beauty and identity. He continued building on that initial success with a 2006’s “Grace 2 Grace” featuring an inuendo against critics, who might sound too confident. In Nigerian parlance ‘over sabi!’

In 2008, he preferred ‘The Unstoppable,’ to keep his stomping confidence though. You could say he was really ‘TuFacing,’ truly to nature after rebuking, ‘Over Sabi! 2012 welcomed ‘Away and Beyond” to nail introspectve spiritual growth on the track “Higher (Spiritual Healing).” By then Flavour had come with Blessed (2012) – with romantic storytelling “Ada Ada,” and Uplifted (2010) featuring the hit “Nwa Baby,” a blend of modern sounds with highlife roots. Those followed debut N’abania (2005) that coined his highlife nuances.

TuFace continued pursuing his spiritiual “(The) Ascension” in 2014, a global attraction with diverse sounds for international appeal. He celebrated 2020 with – “Warriors” to stamp his enduring music persona, despite unceasing conflict with defunct Plantashun Boiz member, Black Face who claimed the o be actual lyricist on “African Queen.” But Flavour was thankful about life pleasures with “Ololufe” from album “Thankful (2014);” following up with “Ijele the Traveler (2017)” with evolutionary traditional and contemporary influences. “Flavour of Africa (2020)” testified to cultural pride, highlighting African rhythms and melodies.

Really, TuFace and Flavour had successfully accepted music batons from Shina Peters and Majek Fashek to sustain dynamic Nigerian music synergy, blending tradition and innovation. Both also laid foundations for Burner Boy, Whiz Kid and Davido, all celebrating an ever dynamic Nigerian popular culture with distinct yet cumulative highlights for global attention.

Back to the OAPs! I would advise that they consider the uniqueness of TuBaba (TuFace Idibia)’s genre versatility, mature objectivity and international collaborations with stars like Mary J. Blige-“Rainbow (Remix) 2012” for . They could be cool with Flavour’s music, deeply rooted in highlife, celebrating culture, love and joy. Powerful vocals and traditional Igbo elements crossed with Fally Ipupa’s Congolese makossa, in “Kwarikwa-Remix 2021” creating a dynamic fusion of crossborder African music could thrill. Both artistes have ensured the evergreen situation of Highlife music in global reckoning coming from the 1960s.

Accolades to some notable Nigerian highlife music stars from the 1960s to the 1970s
1.Rex Lawson- “Sawale”
2.Victor Olaiya- “Baby Jowo”
3.Bobby Benson- “Taxi Driver”
4.Osita Osadebe – “Osondi Owendi”
5.Roy Chicago- “Iyawo Pankeke”
6.E. T. Mensah — “All For You”
7.Fela Anikulapo-Kuti- “Zombie,” on Afro Beat, not today’s Afrobeats.