Seun Kuti :: The Aquarium Drunkard Interview

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Having long ago stepped out from behind the shadow of his iconoclast father, Seun Kuti has kept the fierce independence and self-determination that are a hallmark of his family name, and kept the band his father created together now more than 20 years since his passing.

Kuti’s latest release, Black Times addresses a myriad of issues confronting his native Nigeria, Africa as a whole, and the world beyond. He is unafraid to infuse a precise and clear political message into his music, while simultaneously using the platform of the music of afrobeat itself as an outlet of creative dialogue. AD caught up with Kuti at his studio in Lagos, Nigeria.

Aquarium Drunkard: You’ve worked with Robert Glasper on these last two records – can you speak a bit about his role within the record, as well as what you see the role of production being in your music?

Seun Kuti: You know, for me, the production process is separate from the music – because it’s mostly live. The production of the music starts during composition. You know, you write melodies, the right tones for the instruments. You know, Glasper adds the final touches in post-production, working on the solos, working on the sounds of the instruments. There are new ideas and we try to incorporate them. So yeah   it’s always in a stage of production. It’s a building process — even when we mix sometimes I’m doing shit.

AD: How has your ability to harness music as a tool for political expression evolved? Do you see a distinction or difference between the message you sing and the message you speak?

Seun Kuti: I try to align the message that I sing with the message that I speak. You know, the majority of things that I see as relevant in my day-to-day existence, that I think about in my mind, are what I try to share in my music. The thoughts in my head, that’s what I project to my people so they see what I see, through my music.

I think music is a tool for political expression, because music is art and art is always the expression, and as the artist you can direct the expression however you want. I don’t think Afrobeat is only about political expression. I think it’s also about humanity. We try to represent our society with our voice.

AD: Are there messages on Black Times that you feel speak to both young Africans and your audience in other parts of the world? Are there songs or messages that you feel may convey different things to different people?

Seun Kuti: My songs mean different things to different people already, because everybody is in a different place individually. How my song could help people develop consciousness and their own ability to discover themselves differs, because of everybody’s individual journey. But I think both young and old, most people understand that it’s necessary, old people, people all over the world, black or whatever, understand that it’s necessary to speak up for humanity.

AD: You collaborated with Carlos Santana for a track on this record – what did you learn from him, beyond the collaboration itself?

Seun Kuti: Other than the music, I saw the reward for being true to yourself and your music. So, what he means as an artist, someone I looked up to. You know, to be able to not only influence me musically, and ask questions to him, but ask him also to lead me and also guide me in my spiritual path and journey. That was a great.

AD: You’ve been around music, and have been a recording artist, most of your life – do you have a message for other musicians, who wish to use their own voices for political expression?

Seun Kuti: My message for every artist that wants to use music for political expression has to be that your politics must be the politics of the majority of your people. You cannot be the political voice of the elites or the minority, you must always be the voice of the majority and especially on the side of righteousness, not religious righteousness, but humanitarian righteousness. I believe that is what is primary.

AD: When you are writing your music, some of your lyrics are very specific – but to whom do you feel you are writing? Is it for whoever listens? An African audience? A world-wide audience? Or the people/institutions you name?

Seun Kuti: I believe that my music is not only for an African audience, I speak to the world. A song like, “Struggle Sounds,” for me,   is a song that speaks to the class struggle all over the world and not just about African people. Now we are able to benefit from the values of production like the elites do in the world, you know, but it takes a new solidarity that working class people around the world have to engage for one another and relate with one another.

AD: You’ve played all over the world – how does touring inform the music you play? Do new songs come from jamming or do you like to refine songs in front of an audience before recording them?

Seun Kuti: Traditionally, Afrobeat music goes from stage to studio. But songs don’t generally come from jam sessions. So, maybe we retain one or two songs like that, but most songs come from my own compositions.

AD: How can someone be a better listener, and take to heart what you say in your songs? Your lyrics are often pointed commentaries, but some still come to Afrobeat simply for rhythms and music. Do you want to foster greater consciousness from audiences?

Seun Kuti: Well, you know I feel every show is a mixture of both. As I said before, everybody’s in a certain level of consciousness. Whichever way my music can assist in that understanding, I’m okay with it. It will be done already. It’s fine and it’ll be ready one day.

AD: What do you hope people who hear this record do when they hear it?

Seun Kuti: The message of solidarity for humanity, all over the world as one people, who only have one planet to live on.   words / b kramer

Related: Fela Kuti :: Music Is The Weapon (Documentary, 1982)